biglam/cooper-hewitt-alt-text huggingface dataset:
Dish
, ca. 1505
Tin-glazed earthenware (maiolica)

On the raised center, a profile busy of a man dressed as a Roman emperor. The segmented border shows peacock feathers and scale ornaments, the rim shows floral designs in blue and yellow on an orange ground.
Trophy
Pierre Ranson, French, 1736–1786, ca. 1780
Pen and ink, brush and watercolor, black chalk on water
Drawing

A burning torch, a lyre, and a sheet of music.
Design for a Chimneypiece
Luigi Righetti, Italian, 1780 - 1819, 1800
Pen and ink, brush and gray watercolor on paper
Drawing

Horizontal rectangle. Design for a chimneypiece intended to be executed in marble. Doric columns at either side. The frieze, above, with antique scenes referring to love. Below, the plan and the scale.
Drawing
Carlo Marchionni, Italian, 1702–1786, 1750–86
Pen and black ink, brush and gray wash on paper

Cartouche with royal symbols and elements.
Mountain Views from Cuautla, Mexico
Frederic Edwin Church, American, 1826–1900, February 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch showing views of mountains from Cuautla, Mexico. At upper left, a view of overlapping, rugged mountain ranges is visible. At center right, the craggy peaks of the stratovolcano Iztaccihuatl are shown behind a church, rail station, or other tall building in Cuautla, with trees loosely rendered at right. 

Verso: Landscape sketch showing an indistinct view of rolling terrain and possibly a water feature in Mexico, with a faint sketch of a crouching horse. In the foreground at center, a series of stacked, horizontal lines might suggest a river. In the background, a rolling mountain range stretches across the horizon, viewed beyond an indistinct middle distance. Superimposed over this view at center is a faint, loose sketch of a crouching horse facing left.
James McNeill Whistler
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Partial sketch of a male figure leaning on a railing.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Ninth plate from a series of bifurcated arabesque/ grotesque panel designs with a different design on the left and right side of the plate. The ornament features female figures, architectural elements, canopies, festoons of flowers, fountains, and water, birds, roundels, watering can, rake, fleurons, rinceaux, vases and baskets of flowers, drapery, bat wing, shell, and feather motifs, herms, steps, fluting, trellis, and coffering. The plate is numbered and signed.
Fragment
, 17th century
silk, metallic thread Technique: cut and uncut, voided supplementary warp pile in a twill weave foundation (velvet)

Velvet fragment has a light brown twill ground shot through with metallic thread in the weft direction. Design in red pile of S-shaped scrolls placed diagonally, running in alternate directions in each row.
Cap ornament
, mid-19th century
Gold

Three broad bands interlocked to form a ball-shaped ornament, at top of a pin; similar, smaller ball attached by ashort chain.  Forms a pair with 1916-29-58.
Figure
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Partial sketch of a figure.
Four Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, June-July 1859
Graphite on white laid paper
Drawing

Seascape sketches showing four views of floating icebergs, witnessed off the coast of Newfoundland and Labrador, Canada. One iceberg is situated in each corner of the leaf: at upper left, a sharp, pyramidal iceberg resembling a shark's tooth; at upper right, an amorphous berg with three prominences; at lower left, a sloping iceberg with two rectangular spires; and finally, at lower right, an indistinct iceberg with many undulating forms. The sketches at upper left and lower right are oppositely oriented.
The Column of the Immaculate Conception and St. Peter's Basilica, Rome
Frederic Edwin Church, American, 1826–1900, October 1868–May 1869
Brush and oil, graphite on tan paperboard
Drawing

Architecture and landscape sketch showing a view overlooking Rome from the Via Gregoriana, prominently featuring the Column of the Immaculate Conception and St. Peter's Basilica. The Column of the Immaculate Conception--a tall Corinthian column topped with a bronze statue of the Virgin Mary in the Piazza Mignanelli, near the Spanish Steps--is prominently visible in the foreground at center. Other buildings in the foreground at left and right are loosely rendered. Brownish-purple rooftops extend across the middle distance until they reach the immense dome of St. Peter's Basilica, which looms in the background at center. A long bank of clouds hangs just above the horizon and block the setting sun, which backlights the cloud with a luminous golden glow that transitions to a deep blue in the upper corners.
Stage Design, Cave and Temple
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Caves in rocks with sculptured columns to support outside walls.
Summer Niagara Falls, The Clifton House from the Ferry House A.Y.
Frederic and William Langenheim, 1855
Glass stereoscopic transparency, black tape, brush and white, gold ink
Stereoview

Two identical images showing a white building on a cliff overlooking a river; cropped view of other side of cliffs.
Entrance to a prison
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Three pylon-shaped door openings with rustic frames. Captives stand before the wall panels. Two seated men support an escutcheon top, incompletely shown. Colored background.
Design for an Andiron
Jean François Forty, active 1775 – 1790, ca. 1780
Etching and engraving on laid paper
Print

Fourth plate from a series of six designs for andirons. The andiron features a seated faun, with his arms crossed over his legs which combine acanthus leaf ornament with a fluted column and a laurel leaf garland. To his left, a laurel leaf frieze scrolls into a rosette center with leaf ornament and an acorn finial. The plate is numbered, lettered, and signed.
President Chester A. Arthur, Standing, with Separate Head, Shoulder, and Arm Study
Daniel Huntington, American, 1816–1906, 1850
Graphite on buff wove paper
Drawing

Standing male figure with right hand raised and left arm at side, gazing upward toward right. Additional studies of right arm, head and shoulder. Verso: Three foot studies.
POELE élégant en forme de pied-d’estal, surmonté d’un grouppe de figures de femmes portant une corbeille
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a group of women holding a basket of flowers above their heads, standing on a pedestal. The pedestal is decorated with a frieze and running pattern moldings. The plate is signed, and hand colored in watercolor.
Bracelet
, mid-19th century
Gold, enamel

Hinged bracelet with clasp; design of scroll and lace frills; fine chain with two gold pendants.
Collar
, 19th century
linen Technique: needlework on net

Collar with a design of flowers and leaves on curving stems enclosed in an ornamental border.
A Road into the Woods
Frederic Edwin Church, American, 1826–1900, 1860–1885
Oil and graphite on paperboard
Drawing

Landscape sketch showing a partially completed view of a dirt road leading into a dense deciduous forest, possibly on the property of the artist's estate in Hudson, New York, known as Olana. The portion of the road in the foreground is only minimally rendered with broad strokes of reddish brown paint. Dapples of sunlight illuminate the road in the middle distance at center, and also fall upon a detailed tree with moss and lichen on its trunk, at right. The tall, thick trunks of several other trees visibly recede into the distance under a thick, green canopy, while three trees at left are not rendered and left only as negative space. Graphite sketching is visible at lower left and lower center.
Alexander the Great, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Band
, 3rd–4th century
Warp; S-spun linen. Technique: slit tapestry with supplementary weft wrapping

Central portion plain, a vegetable serpentine vine at each side.
Design for a Side Table
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a side table with a rounded tabletop and a pinecone at its base. The table is decorated with curved, scroll-headed legs, fluting, a rosette. The plate is signed.
Two Vase Designs
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Two numbered plates each with a design for a vase featuring Neoclassical and Empire style motifs including mythological creatures, masks, winged lions, an eagle, cornucopia, garland of fruit and flowers, profile portrait, scrolling foliage, fruit, gadrooning, sphynx, acanthus leaves, Leda and the swan, and ribbons.
Porte-Cochère (Doors) Design
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Etching on laid paper
Print

Design for a set of double doors with an arched overdoor panel carved with paneling featuring c-scrolls, mascarons (masks), festoon of flowers, shells, gadrooning, fleurons, clasps, and scrolling leaves (rinceaux). The plate is numbered. A scale below the design.
Button
, 19th century
Sheets of metal over wood

1931-59-165: On card 4550
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Supported by a shaft with a row of leaves upon an octangonal base of nearly the same diameter. Quatrefoil bowl, the front being decorated with a central medallion, above two crossed branches. Above the rim is at the front a broken pediment from which garlands hang down. The lif has the general shape of a baluster upon a curved base which is fluted. On top a sitting angel with cross staff. Usual background.
Study of a Kneeling Man
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Study of a kneeling man for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Panel
, early 17th century
silk Technique: cut loops of supplementary warp in a 3&1 float weave foundation. The stamped (embossed).

Stamped imbricated pattern on crimson velvet.
Fragment
, 16th century
cotton Technique: embroidered

White cotton embroidered in white in angular pattern showing birds and other forms. Ball fringe on part of one side.
Design for a Fan Leaf
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Sheet of arabesque ornament for a fan leaf. The design features three figures in a landscape: a standing man dancing, a seated man playing a flute, and a woman standing in the background. Other decorative motifs of the design include winged cherub heads, lozenges, garlands, wines, a trophy of tambourine and horns, and a bagpipe. The plate is signed and numbered.
Cortes
Petitpierre et Cie, Nantes, France, 1770–1848, early 19th century
cotton Technique: printed by engraved roller on plain weave
Textile

Four scenes, each captioned in Fench, showing Cortes in Central America. In purple on white.
Two Groups Captives from the Victory of Leo IV over the Saracens
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and sepia wash, black chalk on off white laid paper
Drawing

The group of the killer is omitted and the other two groups are unified.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Head of a woman shown in profile, facing left and looking up.
Design for a Decorative Panel
John La Farge, American, 1835–1910, 1880–1900
Graphite and watercolor on paper
Drawing

Horiztonal panel showing a scallop shell on a red ground, within a floral wreath. Flower rosettes at the outer corners. Verso: graphite sketches of a similar motif.
Design for brooch with round diamond
, 16th century
Pencil, pen, brush, sepia. Paper
Drawing

Horizontal rectangle. An escutcheon framing a big round diamond. It has above the shape of a kind of pediment, with outside half-figures and a shell on top containing a round diamond. Upon the volutes of an inner frame of the central diamonds two figures, recumbent. Volutes at the ends of the half-figures are framing round diamonds from which garlands spring forming the lower part of the frame with a cherub in the center below. Hanging from volutes are two round diamonds.
Portrait of Miss Phillips
Martha S. Day, 1859
Pencil on paper
Drawing

Vertical rectangle. The sitter is seen in right profile; outline only. Inscribed, lower right (in pencil): "Miss Phillips / Sketch from life/ by Martha S. Day / N. Y. 1859." Inscription (erased), lower left. Verso: blotter of another sketch of a head.
Drawing
Felice Giani, Italian, 1758–1823, 
Pen. ink. Paper

A monument shown below a pedestal the front of which is decorated with winged female genii writing in books held by children and flanking a trophy of musical instruments. A second pedestal of a much smaller diameter rises above; before it stand statues of poets crowned by flying genii; three statues are shown. On top stand, a group of three statues the central one plating lyre, the lateral ones holding masks. Garlands are put upon the lower pedestal by a girl, at left, before an altar. Two dancing girls follow the first one.
Fragment
, 18th century
silk Technique: plain weave patterned by supplementary warp floats and discontinuous supplementary wefts

Serpentine bands with bouquets on white ground.
London over Embankment Gardens
Joseph Pennell, American, active England, 1857–1926, 1906
Etching in black ink on grey laid paper
Print

Trees, an obelisk, and a bridge in the foreground. Beyond, the city of Westminster silhouetted against the sky.
Orphrey band
, 17th century
silk, metallic Technique: supplementary wefts on 4&1 satin

Metallic scrolls containing a medallion of God the Father, and another of mary with jesus.
Roundel
, 6th–8th century
linen warp, wool weft Technique: plain weave with discontinuous weft (slit tapestry), soumak

Woven Coptic roundel showing concentric circles with an animal head at center; pairs of animals crowned by a three-headed bird with a heart on its breast. Soumak used for outlines. One weft carried at a time.
Design for an Embroidery or a Woven Fabric, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

A row of six ovoidal pine cones pending from calyxes.
Portrait of James Hogg
William Nicholson, British, 1781 - 1844, 1817
Etching on paper
Print

Half-length portrait of the Scottish poet, James Hogg (1770-1835), known as "The Ettrick Shepherd," shown seated facing frontally, his gaze directed to the right. His left elbow rests on the back of the chair.
Button
, 19th century
brass

1931-59-813-a: two buttons of brass ornamented in design of a Jap...
Carving
, ca. 1800
wood, gilded

Chrysanthemum branches carved in almost full round and lacquered in gold. B: Flower, two buds and leaves, the flower carved of a separate piece of wood.
Fragment
, 17th century
silk, linen Technique: woven, combination of two structures, satin and plain weave.

Pomegranite buds and foliage in red and yellow.
Side chair
Duncan Phyfe, American, 1768–1854, ca. 1812
Mahogany caned seat

Both chairs, rounded and reeded seat rail; rounded and reeded tapering legs.  Top rail carved with "thunderbolt design," tied with bow.  Below top rail, two diagonal, crossing bars, reeded.
Towel end
, 19th century
linen Technique: withdrawn element with embroidery

Towel end with deep border at bottom of three flower heads in drawn work with fine embroidered foliage detail, in white linen thread. Initials "I.A.D." in symmetrical leaf-framed cartouche above. Two plain selvages. Hand-stitched hems at top and bottom.
Study of a Wing
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Wing shown with diagram labels of wing structure.
Sketches of the Virgin and the Magi
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Madonna and Child, center. Below, two sketches of the Magi. Verso: sketch of a Magus, and hte head of Joseph. Probably a design for a stained glass window.
Cover
, 17th century
linen Technique: needlework on knotted net, bobbin lace

White cover with broad bands of net at each end with a needlework pattern in white of leaf forms and scrolls. Narrower band at the sides in a similar design. Edged with fine scalloped bobbin lace.
Fragment
, ca. 1850
cotton Technique: printed on plain weave

Purple ground with tiny dots of light purple. Design of serpentine black lines and circles with white, blue and red dots.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1650
Black crayon, pen, ink, brush, grey water color. Paper

Vertical rectangle. At the bottom are three defeated devils in one row. Archangels stand upon two of them. A third one is flying toward the third devil. Above angels.
Mount
, ca. 1800
Bronze

Furniture mount fragment. Section of model for egg-and-dart moulding.
Panel
, 5th–8th century
linen, wool Technique: slit tapestry

Bands at top and bottom; wide band is geometric. Bottom band has animal figures.
Textile
, 18th century
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Silk pieces and border. Made of French 18th-century yellow ribbed silk brocaded with silks in serpentine floral design, trimmed with bands of silk striped maroon and red with yellow geometric figure.
Pompe funèbre de Marie Thérèse d’Espagne Dauphine de France, en l’église de Notre Dame de Paris, le XXIV novembre M.D.CCXLVI
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view of the cathedral of Notre Dame during the funeral ceremony for Marie Thérèse of Spain in Paris, France. Highly decorated interior with vaulted ceilings, stained-glass windows, candelabra, and drapery. On a mezzanine level, large arched niches similar to opera boxes full of seated figures. At the center of each arch, a large ornamented escutcheon surmounted by a crown. At the ground level, crowds of figures sit and stand for the service. An ornate baldachin at center, the columns of which are decorated with many candelabra. At the center of the baldachin is a sculptural group: two classical female figures with a large urn decorated with festoons between them. Above the baldachin, a large hanging canopy, the fabric of which is decorated with a pattern of diamonds, the top of which is decorated by a skull. A row of monks sit in the center foreground in traditional costume, viewed from behind. Some of the monks as well as the men at left and right sides hold long rifles.
Cap streamer
, 18th century
linen Technique: bobbin lace, Brussels style

Bobbin lace lappet.
Sidewall
, ca. 1820
Block-printed on joined sheets

Small scenic with stripe. A soldier in uniform is pointing toward a pair of mules pulling a plow. This scene alternates with a military hat. Printed in green, brown and black on triangle-patterned yellow background.
The Antikamnia Calendar, November and December, 1898: Stereotyped Caricature
Louis Crusius, American, 1862 - 1898, 1897
Chromolithograph on paper with string binding
Calendar

November and December, 1898.
Mug
, 18th–mid-19th century

"A present for a good girl"
Sampler
Mrs. Barnard, ca. 1860
linen, cotton Technique: cross stitch embroidery

Verse worked in red cross stitch embroidery on natural linen ground.
Model of a Venetian Palazzo
, late 17th–18th century
ivory, wood
architectural model

Model in the form of a seventeenth century Venetian palazzo.
Strong box and key
, probably 16th century
Steel, engraved

Rectangular box with engraved decoration of floral scrolls; lock with key on top
Textile
, 1765–68
silk Technique: float weave patterning: plain weave with supplementary warps and discontinuous supplementary weft patterning, either free floating or bound on the front as a 1\3 twill

Patterned silk with a blue ground and an 'S' curve element of a flowering branch intertwined with a ribbon of lace.
Trim
, late 19th century
Technique: appliqué and embroidery on net

Sample dress trim, applique and embroidery on net, small floral vine; late 19th century Carrick-McCross
Sidewall and border
, 1880–1900
Machine-printed

Two uncut borders, containing stylized chrysanthemums(?), printed in mauve, blue and green on light olive ground.
Border
, 1835–1900
Block-printed and flocked on machine-made paper

One strand of a narrow rope twist or cable molding border. Red flock overprinted in shades of orange and red on white ground.

H#323
Unfinished Mountain Study with Tall Tree
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Unfinished sketch. In left center foreground, a tall branchless tree. In background, large, rocky mountains.
Sketch of a Woman
Kenyon Cox, American, 1856–1919, ca. 1880
Graphite on cream laid paper
Drawing

Sketch of a woman, facing forward, wearing a hat. Center line indicated.
House of Mademoiselle Hervieux, Plate 58 from "Vues Pittoresques des Princepaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

The front yard and entrance to a house. A cart, dog, and figures in the yard. Title, artists' and publisher's names below.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile in a five-harness satin foundation (ciselé voided velvet)

Rows of diagonally aligned motifs in dull purple on an ivory voided ground. One motif is an elaborate lozenge, the other a flowering vine wrapped on a rod. The diagonal alignment is reversed from row to row; interspaces are filled with tiny rosettes.
Pleated fan and case
, late 17th–early 18th century
Parchment leaf drawn with pen and black ink, incised ivory sticks with black paint; metal rivet

Pleated fan. Off-white parchment leaf with scenes drawn in black ink. Obverse: the image probably depicts King Phineas harassed by the harpies with the winged Argonauts aattempting to defend the king from the attack. The gorge is painted with rococo ornament. Reverse: a drawing of Rome indicating points of architectural interest; the reverse gorge is not painted. Incised ivory stick with black paint. Metal at rivet.
Design for a Painted Porcelain Plate, Les Anémones (Anemones) for the Service de la Culture des Fleurs (Flower Cultivation Service)
Jean Charles Develly, French, 1783 - 1849, 1821–24
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper, mounted on blue-gray paper
Drawing

Design for a painted porcelain plate, rondel. Garden setting with chinoiserie pagoda in left background. Male gardener and figure of a gentleman stand and bow before each other in the middle of anemone beds. Two other men appear behind them, one kneeling and examining flowers, other seated, with a brush between his teeth regarding his sketchbook.  A woman appears in doorway of the garden wall in right background before which a young boy plays with a butterfly net.
Band
, 17th century
silk, metal threads Technique: cut and uncut supplementary warp pile (velvet)

Large-scale symmetrical repeat of crown clasping two out-curving lobed leaves alternating or framing spreading bouquet of tulips flanked by small birds. In crimson cut and uncut velvet on gold ground now sparsely covered with tarnished silver. Lobed guard strip top and bottom. Two broad selvages striped in pink.
Sketchbook Page: Flower Study
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of a drooping flower, stem, and leaves, angled from lower left to upper right. 
Verso: Sketch of a foliate design in pointed oval.