biglam/cooper-hewitt-alt-text huggingface dataset:
Lily Vase
New England Glass Company, American, East Cambridge, Massachusetts, 1818 – 1888, 1883–88
Amberina glass
vase

Large trumpet form; shaped deep red rim tapering to clear yellow-amber-ochre colored body and circular foot.
Fragment
, 300–100 BC
wool Technique: embroidered in stem stitch on plain weave foundation

Standing human figure wearing an elaborate mask and headdress with serpents. Figure holds a trophy head in one hand and a staff in the other.  Brightly colored embroidery covers the entire surface.
Sidewall
, 1875–1900
Machine-printed on paper

Two registers of large lavender and white flowers with green foliage on light gray ground; bordered by yellow composed of 8's and wavy lines.
Friendship Greeting, Ivy
, ca. 1890
Graphite, brush and watercolor, brush and oil paint on cardboard
Greeting Card

Standing man with ivy before him. Below, four-line verse. At top left: "Ivy"
Panel
, 16th–17th century
silk, metallic thread Technique: appliqué

Horizontal panel, possibly part of a valance, of red velvet heavily worked in gold thread and colored silks. Graceful flowering vines curve through asymmetrical arrangement of joining S-curves. Flowers in shaded effects, in blues, yellows, greens, and soft rose and outlined with gold thread. The S-curves and bands in gold couched to give a block design. Wide border of gold couched over cord to give raised effect.
Design for a Bedroom Armoire in Louis XVI Style (Armoire pour un chambre à coucher riches, Style Louis XVI)
Alexandre-Eugène Prignot, French, 1822–after 1875, 1873–79
Graphite, color pencil, brush and watercolor on cream paper
Drawing

Armoire with tall doors with elaborate carving and marquetry.  On tall center panel masks with plumed headdress are flanked by suspended musical trophies.  Below two putti holding musical instruments, seated upon a tri-partite banner.  Upper and lower panels decorated with hinges in acanthus leaf motif.  Top of armoire displays ewers with helmet spouts which flank a mounted potpourri vase.  Armoire is set in front of a carved wood paneled wall. Cast shadows throughout.
Sampler
Charlotte Spier, American, 1788
silk embroidery on linen foundation Technique: embroidered in eye, counted cross, herringbone and overcasting stitches on plain weave foundation

Long vertically rectangular sampler with a verse, three alphabets, two sets of numerals and two floral bands arranged in rows. The verse reads: 
Each beautious Flower that grows 
Gods Wisdom Plainly shows  
Signed Charlotte Spier 1788 Aged 9
Fragment
, 19th century
silk on linen Technique: embroidered

Valance fragment with triangular points and a geometrical floral vine pattern. In green silk on linen.
The Resurrection, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509–1511
Woodcut on off-white laid paper
Print

Christ stands in the center of composition, his left hand holding his banner, his right hand raised. Soldiers are asleep on the ground to left and right. Monogram of Dürer, lower right.
Milk Jug with "Strohblumen" Pattern
Tettau Porcelain Manufactory, German, established 1794, ca. 1790
hard paste porcelain, vitreous enamel
milk jug

Pear-shaped body with open spout and strap handle. Dome-shaped cover with round knob. Body and cover reeded and decorated in underglaze blue "Strohblumen" pattern.
Garden Wall, Granada
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

A church wall, foreground, trees and bell wall at right, rooftops and mountains beyond, left.
Last Glimpse of Vesuvius
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Background, mountains, Vesuvius smoking, sailboats. Foreground two figures sitting.
Les Amusements nocturnes
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Man in nightcap in bed, left, reading. Over his head, a pitcher of water, controlled by a string through the door into the hall. Four people watch and wait, with a head on a stick.  Title and artists' names below.
Stag
Antoine Louis Barye, 1796 – 1875, mid-19th century
bronze
Statuette

a) Statuette of a stag, standing with head raised, two front feet close together, right rear foot advanced.  Statuette attached with nuts and screws to hollow bronze base,  rectangular with rounded corners. b) Wooden base, rectangular, with chamfered corners.
Baltimore Skyline
Griffith Baily Coale, American, 1890–1950, 1921
Graphite on paper
Drawing

Sketch looking through an upper window. The Washington Monument is in the left foreground, with the Walters Art Gallery (at the corner of Center and Charles Streets) at left and the Peabody School of Music, lower right center. Tall buildings in the distance. Color notes throughout.
Printing block
, 14th century
carved wood

Small block carved on both sides. On one side is Kufic script, and on the other, part of a design with a section of circular motifs containing an inscription. Incomplete.
Case
, ca. 1730
sharkskin, silver, wood
case

1985-103-138-a: Sharkskin case for an implement. Silver cap at tap...;     1985-103-138-b: Knife with blade with straight lower edge, upper e...
Frieze
, 1905–1915
Machine-printed paper, ungrounded

Printed two across. Floral medallion printed in two shades of blue on ungrounded paper
Armchair
Wenzel Friedrich, Bohemian, 1827–1902, ca. 1885
Assembled and pinned steer horn, cut and shaped horn sheets, wood, metal, brass, glass, leatherette upholstery (modern)

Bow-shaped joined crest rail above similarly shaped shoulders, over a back support of twisting horns.  Similarly composed arm supports, centering a leather upholstered seat on four twisting cow-horn legs terminating in brass claw-and-glass ball feet.  The front feet enclose opposing twisting horn returns. Part of group with ottoman 1986-39-2.
Sketch of Waves on Diagonal Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against large, wide cliffs in two sections, at left, under a dark sky. Miscellaneous pen in top right corner margin.
Sketchbook Page: Oak Leaves
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of oak leaves attached to a branch. 
Verso: Sketch of a Blackberry flower right five large, rounded petals, and sketches of leaves.
The Base of the Blast Furnace
Joseph Pennell, American, active England, 1857–1926, 1917
Lithograph on ivory laid paper
Print

At left, the base of the blast furnace. At right, a number of workmen and some machinery.
La Cassolette
, ca. 1780
Block printed on handmade paper
Sidewall

Arabesque design with at top a bouquet of roses and other flowers. Below this is a medallion in brown tones showing cupids at play, atop which are quiver and arrows in a torch, crossed. At bottom, an incense burner or "cassolette". Panel assembled from three fragments: 1951-16-3-a,c, and -d.  Originally included another fragment, -b. which was deaccessioned.
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 169 (I)
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Floral bouquets in foliate wreaths interspersed with smaller floral bouquets on moire background. Pink-beige ground. Printed in pinks, greens, white and metallic gold (which is turning green in some spots).
Cap streamers
, mid-18th century
linen Technique: needle lace

Pair of cap streamers of Point d'Argentan with an open floral pattern contained within compartments and alternated with medallions.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Pink two-flower bouquets between four scrolling lag-and-feather petal-like shapes. Fleurons in resulting negative space. Background has dotted hexagonal grid. Printed in pinks, greens, tan, and brown. Ground is cream. 
Printed in selvedge: "Carey Bros. W. P. Mfg. Co."
Knife
, ca. 1730
silver, steel
knife

1985-103-138-a: Sharkskin case for an implement. Silver cap at tap...;     1985-103-138-b: Knife with blade with straight lower edge, upper e...
Cap streamers
, 1700–1750
linen Technique: deflected element work -Sheer plain weave fabric placed on top of a denser plain weave fabric with the warps and wefts of each aligned -Pattern outlined by a closely couched cord -Sections of the back layer of fabric cut away -Deflected element work (wrapping stitches using a needle which pulls warps and wefts of the foundation fabric out of alignment to produce openwork) in various patterns -Deflected element work on two layers of fabric for details -Edges finished with buttonhole stitch

Design shows serpentine garland of floral and foliated forms, accentuated by intermittent parallel bands; interpretation of a French pattern. Drawnwork combined with embroidery; outlined by cordonnet.
Shoreline with Small Calm Waves
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Small waves on shore in foreground.
Frieze
, 1790–1829
Block-printed on handmade paper

Pink drapery swags with ocher and blue fringe. Drapery is suspended from an architectural molding. A double band of molding ornament runs along bottom edge, below drapery.
Textile
, ca. 1300
cotton Technique: woven knotted net patterned by embroidery, tie-dyed

Sheer openwork fabric with embroidery forming diagonal bands containing interlocked shapes. Piece has been tied and dyed reddish brown.
Textile
, ca. 1835
cotton Technique: printed by engraved roller on plain weave; mordant for purple

Fragment of a pattern less than full repeat which would have filled the full width of the fabric: offset scenes of family life enclosed in a frame of leaves.
Sketchbook Page: Standing Figure
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a standing figure in a decorative frame.
Lion and Hare Composed of Ornamental Leaf-Work, from Neue-ersonnene Gold-Schmieds Grillen (New Designs for Ornaments in Gold)
Wolfgang Hieronymus Von Bömmel, German, active ca. 1660 – 1700, 1698
Engraving on off-white laid paper
Print

A lion and a hare, both composed of ornamental leaf-work run through a barren landscape. The lion faces right, the hare left. Possibly a design for jewelry
Hyacinth, Duke of Wellington, Plate from Edward George Henderson's "The Illustrated Bouquet"
E. G. Henderson and Son, English, ca. 1859 - 1886, ca. 1857–1864
Chromolithograph on paper
Print

Hyacinth, Duke of Wellington, Plate from Edward George Henderson's "The Illustrated Bouquet."
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a woman seated at a desk.
Child with a Lion and Other Animals
, ca. 1830
Silhouette of white paper, cut out, on green paper mount
Silhouette

Embossed paper cut-out (possibly for a valentine) used as a frame for a silhouette showing a child with a tame lion, goats, and fox, with trees in the background.
Carriage
R.Ackermann & I.G.Beygangs, 1801
Engraving, brush and watercolor on paper
Print

A green cab with black seats; a wheel at the back to balance it when unhitched. Two large wheels on one axle beneath the seat. Publishers' names and date below.
Fragment
, late 16th century
linen Technique: bobbin lace, continuous braid-like

Single tab with a wheel-like circle above a geometric form with rounded corners.
Sidewall - fragment
, 1905
Machine-printed paper

Art nouveau design; single floral motif within acanthus medallion printed on background of dense flowers and foliage. Printed in green, yellow, red, metallic silver and metallic gold on red ground.
Sketchbook Page: Figural Group
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Above, square composition with larger figural group at right and two figures at left, possibly dancing. Below, sketch of a face.
Pleated fan
, 1780–1900
Gilded parchment leaf painted with gouache and embroidered with sequins, carved and pierced ivory sticks overlaid with gold foil, pin set with a faceted stone

Pleated fan. Gilded parchment leaf painted with gouache and embroidered with sequins. Obverse: figures in 18th-century dress divided into three panels. Reverse: three panels, each enclosing a spray of flowers. Carved and pierced ivory sticks overlaid with gold foil. Pin is set with a faceted blue gem.
Brooch
, ca. 1870
tintype/ferrotype, gilded metal

Circular; portrait of a man wearing hat (darkened); gilded metal frame of pierced flowers and scrolls.
Design for Memorial to a Dog
Giulio Romano, Italian, 1499–1546, 1531–34
Pen and brown ink, brush and brown wash on off-white laid paper hinged to thick laid paper
Drawing

A dog lying in stately fashion atop a dais and tasseled cushion and beneath a canopy with curtains pulled aside.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Row of clusters of roses, bordered with bands. Printed in lavender and dark green on light gray ground. Two borders printed across the width.
Sweetmeat glass
, ca. 1800–20
Glass

Deep fluted-shaped bowl, short tapered stem, slightly domed 8-sided foot; lip scalloped with fan cutting, below that cut drapery swags with narrow vertical flutes above and wide flutes below, foot cut with facets at edges.
Chintz fragment
, 18th century
cotton Technique: outline of pattern drawn on; mordants for 2 reds and 2 purples applied by pen or brush (sometimes over resist); madder dyed; blue applied by immersion over resist; chintz on plain weave

Fragment showing exotic flowers on blue stems.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Faint sketch of an orb, possibly the moon, near a stream.
Unfinished Cliff Study
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Border box with quick, unfinished study of cliffs at right.
Sidewall
, 1875–1910
Machine-printed on embossed paper

Framework of vines with shells containing stylized floral and foliate medallion. Printed in olive green, black and ocher on tan ground.
St. Luke's Hospital, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

An L-shaped ward for female patients, likely suffering from mental illness. They walk freely, some with hair unkempt and some at work, weaving. Title, artists', and publisher's names below.
Blue-Bellied Bee-Eater, Plate 8 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A long-billed bird with a red throat, green crap and wings, brown chest and tail, and blue underside, on a tree branch near a river. Title and artists' names below.
Fragment
, 16th–17th century
silk Technique: velvet

Green cut velvet, small palmette in foliage frame; old gold ground.
Landscape with two figures
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1790
Black chalk on paper
Drawing

Two women, seen from the back, in a landscape. One stands with a child in her arms, the other kneels before her, doing washing. A sparsely-leafed tree at left foreground.
Border
, 1835–1860
Block-printed and flocked paper

Passementerie border containing cable molding or ropework. Printed in red flock, with every second twist a red and white candy stripe. a) has been cut out and has a serpentine edge. b) is cut straight and contains the white ground color.

H#532
Title Page, from "IXe Cahier de Fragment"
Thérèse Eléonore Lingée, French, 1753 - after 1814, ca. 1780
Crayon-manner engraving in red ink on paper
Print

Figure of a woman, right, and various animals grouped about the title, center: "Ixe Cahier de Fragment / Dessinés par le clerc et autres ET Gravées par Mlle. Lingée".
Fragment
, 19th century
wool, linen Technique: cut supplementary warp pile (velvet), embossed

Fragment of cream-colored velvet with a stamped design of a large-scale floral design. Made in imitation of Flemish sixteenth century wool velvet.
Fragment
, ca. 1785
cotton Technique: printed on plain weave

Fragment shows two young men with musical instruments and a young girl with flowers.
Vase de marbre blanc à Marly
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a marble vase from the gardens at Marly. The vase is decorated with a central open-mouthed Medusa mascaron, with acanthus leaf, garlands, gadroon, and floral ornament with fleurs-de-lys finials on the sides, with handles. The foot of the vase is decorated with a fish scale pattern. The description is lettered on either side of the foot, with a scale below the base. The plate is signed.
Trumeau de Glace
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for an overmantel mirror above a commode. The mirror is set within a rocaille frame, with a painting at top featuring a vignette of putti with a goat. At the bottom of the plate is a plan of the top of the commode. The plate is numbered.
Pair of Brown Birds on Rose Stem with Butterfly and Spider
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Pair of Brown Birds on Rose Stem with Butterfly and Spider
Figures
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Three-quarter length sketch of a female figure overlapped by profile of a male figure.
Snuffbox Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

A design for an oval snuffbox with neoclassical and rococo motifs. Above, a view of the lid of the box, with a central oval roundel illustrating a group of putti playing with rams in a landscape. The vignette is framed by festoons of flowers tied with ribbons. Below, a view of the side of the box with a central cartouche of a bird, framed by rococo ornament, c-scrolls, rinceaux, fleurons, shells, gadrooning, laurel leaves, and festoons of flowers and ribbons. There is an unnumbered scale below. The plate is numbered and signed.
Wooded Hill, Catskill, New York
Frederic Edwin Church, American, 1826–1900, May 1845 and August 1844
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a wooded hill in or near Catskill, New York. In the middle distance, the rounded contour of the prominence is made rough by treetops and other vegetation. In the foreground, closer to the viewer, a group of trees or bushes are visible at center left.

Verso: Figure sketch showing a frontal view of a standing young boy, almost certainly Thomas Cole's son, Theodore. His body is turned slightly to the right as he looks toward the viewer and meets our gaze. He wears a long robe over trousers and shoes as he holds his arms behind his back.
Stage Design, Landscape in Hills
, early 19th century
Pen and ink, brush and wash on paper
Drawing

Horizontal rectangle. Road winding between hills with ragged trees, houses in background, carriage in foreground. Stormy atmosphere.
Bureau à l'antique
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk with two small drawers. The desk is decorated with ornament motifs including fluting, garland, rosettes, acanthus leaves, lamb tongue, and a central scallop shell surrounded by scrolls. The plate is signed.
Vase Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a lidded vase in a krater form on a stem, with grotesque motifs including putti, mascarons (masks), cartouche, fluting, scrolling leaves (rinceaux), a snake, gadrooning, and festoons of leaves. The body of the vase is decorated with a frieze with military figures in classical armor with flames on a pedestal and a herm. The plate is numbered and signed.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Graphite, brush and white gouache on glazed tracing paper
Drawing

Four panels in the scheme of a lying crescent, for the lace decoration of which three different suggestions are made, form a crest border. Upon their top points alternate a plan with a fantastical palm tree in much smaller scale. Leaf and seed rosettes are shown over the points where the panels meet. Two repeats are shown.
Tile
, 18th century
Earthenware

Earthenware in manganese, white and blue.
Profil du dedans de la cour du Chasteau de Colombieres en Brie
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the exterior façade of the castle of Coulommiers, France with a scale below, and a part section view of the interior on the left. The façade features windows, columns, pilasters, niches, statues, a cartouche, and finials. The plate is titled and signed.
Upholstery trimming
, 19th century
silk Technique: woven

Woven heading with a cord carried through to form scallops with ornaments of silk floss knotted and fringed in multicolored silks.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy ornament design incorporating flowers, foliate branches, vegetables, basket, watering jug, scythe, and a watering can. The plate is numbered and signed.
The Descent from the Cross
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1633
Etching on paper
Print

Rays of light throw the central group, representing the figure of Christ being removed from the Cross, into strong relief. Other figures in the foreground, right; background, left. Spectator, left, wears a richly embroidered cap and Oriental turban (probably Joseph of Arimathea).
The Beheading of St. John Baptist
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and ink, brush and sepia on light brown-gray paper
Drawing

St. John kneels at left. A pompously clothed man, his hat ornated with feathers, spurred boots, is turning the head of the saint into the right position. His left hand leans upon the uncovered sword. The scenery is a vaulted room with railed window and a curtain. A bed stands in the room. Framing line.
Coconut Palm, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Graphite on gray-green wove paper
Drawing

Botanical sketch of the roots, trunk, and lower bough of a coconut palm tree. Roots at lower right. Bough lightly shaded.
Bougeoires
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two short candlesticks, decorated with ornament motifs including egg and dart, garland and ribbon, acanthus leaf, lamb tongue, guilloche with rosettes, and bound leaf. The plate is signed.
Design for Decorative Motifs
, 1820–1830
Graphite, pen and ink, brush and wash on paper
Drawing

At left, a lyre with a bow, a thyrsus, a quiver in front of it, with a torch and a wreath on top of it. At right is the left half of the foot of a candelabrum.
Design of a Sepulchral Monument for a Cloister
Carlo Marchionni, Italian, 1702–1786, ca. 1745
Graphite on laid paper
Drawing

A frame in architectural forms, with alternative suggestions. Three embedded columns upon high pedestals are supporting a pediment, in whose center a circle or an oval with a crown on top is intended as place for the coat of arms. Above a base, joining the pedestals is a sarcophagus, upon which two putti are supporting a medallion with a portrait.
Two chalices
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left, a variation of 1901-39-1165. 1) The pedestal is decorated with festoons supported by cherubim at the corners. The stem is slimmer, the bowl without the upper motif. At right: the pedestal is angular, with inverse cornucopiae at the edges. In the front is an oval medallion. Above upon the corners sit figures. The stem has the shape of a baluster with a band above the spot with the biggest diameter. Upon it sit two angels supporting an oval medallion. The are connected by a festoon. The lower part of the bowl is decorated with festoons, supported by cherubim. Usual background.