biglam/cooper-hewitt-alt-text huggingface dataset:
Okitsu from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

A dozen men are carrying cargo from a recently docked ship. Some men balance luggage on their heads while others pair up and balance the weight of larger containers between them. Rocky mountains segregated by colors give a sense of weight and prominence.
Towel cover
, 1837
cotton on linen Technique: embroidered

Panel with three horizontal bands of embroidery: the initials M.H., date, birds, plants, animals, and circular ornaments in cross stitch. Three applied fringed bands. Fringe at top and bottom.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on tracing paper mounted to board
Drawing

Sketch of a female figure's head and facial expression.
Fragment
, 17th century
silk Technique: cut supplementary warp pile in a plain weave foundation (velvet) Label: Silk cut velvet in a plain weave foundation

Small scale pattern of blocks in a grid creating roughly a rosette pattern.
Stage Design, Palace Interior
, early 19th century
Pen and bistre ink on paper
Drawing

Horizontal rectangle. Interior of palace hall with detailed arches, sculptures. Verso: Oriental buildings.
Plan, Elevation et Profil d'un Buffet de Marbre et de Bronze, au milieu du quel est un Tableau et aux côtez deux Niches, dans lesquelles il y a des Cascades
Jean Mariette, French, 1660–1742, 
Etching and Engraving on paper
Print

Divided design for a side panel. On the left is the elevation and profile of a fountain. The right side features a console table, on which are placed vases. Above the table is an empty panel. On either side are marble fountains, with the water emerging from grotesque mascarons and spilling into scalloped bowls. The plate is numbered but not signed.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton textile printed in black and red on white ground showing a grid pattern composed of diamonds with gradient corners.
Plan et Elevation d'une Salle à manger avec un Buffet
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Plan and elevation of a dining room. At center is a niche, with a buffet table in front. At left is a niche with a large, lidded urn with a relief of putti. At right is a doorway. The plate is signed.
Samson and Delilah
Lucas van Leyden, Netherlandish, ca. 1494–1533, ca. 1508
Engraving on paper
Print

Delilah is seated on a rock in the foreground, cutting Samson's hair, while he rests his head on her lap. Philistine soldiers are in the background. Samson's weapons are on the ground before him.
Madonna and the Infant, St. Jerome, Mary Magdalene and Angels, after Correggio
Felice Giani, Italian, 1758–1823, 1818
Pen and black ink, brush and brown wash on paper
Drawing

Verso: five studies of gothic monuments
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1770–1774
Etching on laid paper
Print

Half-length figure of a pope in frontal view facing downward. He wears a skull-cap and holds in his left hand a vase.
Corniches d'Impériales de Lit
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two cornice designs, one above the other. The top cornice is decorated with, from top to bottom, acanthus leaves, bead course, baluster, and lamb tongue with leaf dart ornamentation. The cornice profile is provided on the left, as is a scale indicating "2 Pouces 5 lignes." The lower cornice is decorated with, from top to bottom, lamb tongue, egg and dart, and rectangular block ornamentation. The profile of the cornice is provided at the left, as is a scale marking of "2 Pouces 3 lignes." The plate is signed and numbered but does not indicate an album letter.
Man with Birdcages
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A holds two birdcages or lanterns, one dangling from a large stick and the other in his right hand. He stands within a garden landscape with a pergola and fence to the left. The plate is numbered, signed, and dated.
L’HOTEL ROÏAL DES INVALIDES
Gabriel Perelle, French, 1604–1677, 1672–1703
Etching on laid paper
Print

Bird's-eye view of the domed Hotel des Invalides in Paris with its surrounding buildings and landscape in the distance. Figures, horseman, and horse-drawn carriages in the foreground. The plate is titled.
Furniture for a Bedroom
, late 18th century
Graphite, brush and watercolor on paper
Drawing

Elevation of bedroom furniture. At left is a commode with two drawers, strait legs and an oval panel of marquetry. Beside is a couch with curving back and half of a chair with a similar silhouette. At right, a lit polonaise with lilac and white textile. White plumes above the tented top. Suggestion of striped walls.
Decorative door boss and nail
, 15th century
Wrought iron

Hemispherical boss divided into eight triangular sections by paired parallel wrought lines. Nail has a pyramidal head on a square shank.
Cliff Face, Petra, Syria (Jordan)
Frederic Edwin Church, American, 1826–1900, February 25, 1868
Oil paint and graphite on paperboard
Drawing

Landscape study showing a detailed view of a cliff face at Petra, in present-day Jordan, and the array of colorful rock strata that composes it. A rounded, columnar formation is visible at center. Bands of red, brown, orange, and lavender sandstone stretch across the rock wall.
Two Alcove Designs: Joseph Escaping Potiphar’s Wife and Judith Beheading Holofernes
Jean Le Pautre, French, 1618–1682, 1665
Etching on laid paper
Print

Two half Biblical scenes with figures and beds in alcoves. To the left, Joseph escaping Potiphar's wife within an alcove with a landscape tapestry in the background, and a curtain pulled back. The walls feature fluted pilasters, and leaf pattern moldings. To the right, Judith holding the head of Holofernes and placing it on a plate, held by a man. The body of Holofernes is lying on the canopy bed to the left. The interiors feature a tapestry, wave pattern molding, ornate paneling, and a statue of Hercules on a plinth. The plate is signed.
Three Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1638
Pen and ink, brush and wash on paper
Drawing

Three figures seen from behind. At top left, a seated man with a brimmed hat and sword. To the right of him, a standing man. Below, a man with one foot on a rock, holding a handle with both hands.
Looking toward the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil, graphite paperboard
Drawing

Landscape sketch showing a view across Hudson Valley towards the Catskill Escarpment, with Kaaterskill High Peak in center. Grassy and partially wooded slope in foreground, probably a portion of the artist's estate near Hudson, New York, descends from right to left. The sky is cloudy, but a patch of blue sky peaks through at upper right. Foliage appears brown and dead--scene likely takes place during winter.
Band
, 18th century
silk on linen Technique: embroidered on plain weave

Scrolling floral motifs in blue on white.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

The Virgin sits behind a parapet, seen from the back, her head turned toward her left shoulder. Her left hand is resting in her right armpit, her right hand at the right hip of the Child who stands upon the parapet. He has an apple in his right hand, his left is resting on the left shoulder of the Virgin. The scenery is a town in a sunny landscape. Framing line.
Jewelry Designs
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Within a double-lined frame, five designs for jewelry, including two broaches in the shape of bows, and two as clusters of jeweled flowers, and ribbon with a hanging portrait miniature. The plate is signed, numbered, and dated.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Lacy leaf boughs, four of which are shown, hang into the hollows of a scalloped border.
Sampler
, 1818
silk embroidery, linen foundation Technique: cross stitch on plain weave

Geometric and floral cross borders. Alphabets and numerals along with a Crucifixion, a woman, a peacock and other varying designs. Initialed "C. D. H."
SALIERES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Designs for six saltcellars with Empire style motifs featuring profile portrait roundels, waves, wings, rosettes, swans, trident, jester heads, dolphins, foliate scrolls, and hooves. The plate is titled, signed, and numbered.
Cupid
, ca 1760
fire-gilt bronze

a cupid or amor putto standing with one arm outstretched, apparently to hold something, the other on a husk-like pelt, with a strap over his shoulder, one foot raisede, as if dancing or stepping on a stepped portion of a mount
Clock or Barometer Wall Mount Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two designs for wall-mounted clocks or barometers. The one at left has a burner at top and pedestals on the sides with vases filled with flowers. The frame of the clock or barometer face has egg and dart and fluting ornamentation. The design at left features an eagle with wings spread atop a pedestal and two side pedestals with lion faces and topped by baskets of flowers. The round face of the clock or barometer is framed with a mascaron at top and bead and lamb tongue bands. At the bottom are stylized acanthus leaves, a bunch of grapes, and vines. The plate is signed and numbered.
Border
, ca. 1835
Block-printed

Floral border with green and white flowers, above band of acanthus leaves and pearls printed in shades of ocher.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Rectangular composition with central rectangular panel populated by figures in clouds. Below, lattice decoration indicated with additional figures leaning in towards lower central figural panel.
Stage Design, Church Interior
Pietro Narducci, Italian, active 1809 - 1841, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Interior of church with niches in walls in which sculptures are to be seen.
The Mocking of Christ [left]; Christ Washing the Feet of the Disciples [right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1584-1587
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto, left: Figures crowd in dark arched space, lit by a large candle held aloft by a figure in the left foreground. At the center, Christ sits with head bowed and hands tied before him.

Recto, right: In an interior dramatically lit by a large pedestal candle, Christ kneels to washes the feet of his disciples.

Verso: In a large rectangular room or courtyard, Queen Mary lies on her stomach upon a square platform. Her neck is elevated by an execution block, and a man behind her ties her hands. The executioner raises an axe. Two women kneel beside her, and other onlookers surround the platform.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Designs for symmetrical ceiling decoration compositions featuring diamond and square panels in which rinceaux, medallions, swags, and trophy motifs, along with landscape and figural elements, are arranged.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The entablature above the door and at the sides is supported by consoles as it is in 1938-88-1301. Above the entablature are over the door a sitting putto with a crozier and a cross staff; laterally putti. Behind them is an attic. The inscription is in the lower band of the base. The group above is similar to 1938-88-1300, with an additional angel at right.
Pleated fan
, 1750–1850
Paper leaf with hand-colored etching, painted ivory or bone sticks carved à jour, guards inlaid with colored foil

Pleated fan. Paper leaf with hand-colored etching. Obverse: shepherd and shepherdess. Reverse: country scene with a garlanded monument in the background. Ivory or bone sticks carved à jour, painted red, blue and violet. Designs of flowers on guards with colored foil behind.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile in a satin foundation (velvet)

Green and yellow trimming fragment in a design of a serpentine stem with leaves.
Marriage of the Virgin [left]; Marriage Feast at Cana [right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1589 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto, left: A priest stands on a podium at center, with the Virgin and 
Joseph at either side. Guests surround. 
Recto, right: At a large table, Christ sits at lower right beside wine casks. The bride and groom are in the background, with guests to the left and right.
Verso: Naval battle seen from a distance, with many ships with high masts, some tilting at dangerous angles. The rough indication of battlements or buildings can be seen in the middle ground at right, and a bridge appears at center.
Candlestick
, 19th century
silver plated, copper
candlestick

One of a pair of identical candlesticks, each with four-lobed foot with gadrooned C-scrolls and collar. Four-lobed column, fluted in lower part, with gadrooned collar. Urn-shaped candle holder with gadrooned four-lobed rim. Weighted.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel of grotesque ornamentation with a relief at its center with a winged figure holding a horn and surrounded by flags, arrows, and a shield. The composition also features satyrs, snails, strapwork, garlands, portrait medallions, anguipèdes, birds, and vines. The plate is lettered "C" but not signed.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery at the border of a man's waistcoast. Brown edges. A fantastical flower is suspended beneath the central bottom point of the pocket. Beside it are two flower boughs, either with calyx scrolls. Flower boughs decorate the remaining square of the field. A border consistening of halves of blossoms which are connected by straight leafs boughs is shown along the edge of the waistcoat.
Alcove with Military Trophies
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

An alcove with a bed topped with a canopy in the style of a military tent with hanging textiles. On the back wall, there is a tapestry or painting of a battle scene with soldiers holding spears. A balustrade in front of the alcove, ornately carved with military trophies, festoons of leaves and flowers, and lion mascarons (masks). The alcove is framed by an ornately carved cornice with moldings and friezes and flanked by statues of prisoners in chains on plinths with military trophies, and medallion profile portraits. The plate is signed, numbered and includes a scale below.
Two Elevations of the Central Part of a Palace
Giuseppe Barberi, Italian, 1746–1809, 1792
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two elevations of facades for a palace building. At top, an elevation with five arches in the center of the first floor, a Doric order in the main floor, and a sepulchral group above the attic. At bottom, the structure is larger than above, with the central part higher than the other storeys.
Furniture mount
, 19th century
Gilt bronze

Wreath between cherubs in the French Empire style.
Grey and Coral Bird on Bouquet with Rose, Tulip, Daisies, and Forget-Me-Nots, with Butterfly
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Grey and Coral Bird on Bouquet with Rose, Tulip, Daisies, and Forget-Me-Nots, with Butterfly
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including columns, pediments, vases, and a fountain. The left side of the upper plate functions as the title page. Both plates are numbered, neither are signed.
Edging
, 19th century
linen Technique: machine made

Chantilly-type edging lace with a pattern of pendant medallions joined by swags above a border of conventionalized forms.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for a chimney piece (fireplace, mantel and overmantel) with classical motifs. The mantel features leaf, egg, and lamb's tongue repeat pattern moldings, flanked by foliate branches intertwined with snakes. The overmantel is decorated with French coat of arms, with a frame or mirror framed by an arched pediment with a trophy of arms and armor in the center and flanked by eagles, supported by Solomonic columns (spiraling twisting columns), fluted pilasters and two female standing statues, wearing armor (to the left) and holding balance scales (to the right). A scale below. The plate is numbered.
Plan et Elévation d'une Commode enrichie de Marqueteries
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plan and elevation for a design for a chest of drawers richly decorated with ornament motifs including a central rondel with winged helmet and caduceus, scrolling acanthus leaves, lion head mascaron, and eagles. The plate is signed and numbered.
The Virgin and Child with Worshippers in Classical Interior
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and wash on paper
Drawing

The Virgin and Child enthroned with Worshippers in Classical Interior.
Stage Design, Rocky Valley with Buildings
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Rocky valley with buildings towering at the top of rim, ruins, trees, and rockery below.
Design for a Fantastical Landscape with an Obelisk
Maurice Jacques, French, ca. 1712–1784, 1756
Etching and engraving on laid paper
Print

A design for a fantastical landscape from a suite of six. In the foreground, to the left, an obelisk in part ruin, overgrown with flowers and leaves, decorated with a sculpted trophy featuring armor, quiver of arrows, bow and flaming torch, hanging from a bow. The obelisk is topped with a flowering vase. In the background a circular colonnade with a sculpture of a female figure on a plinth in the center. Trees and clouds in the background with birds. Foliage, fruit, flowers, and water in the foreground.
Fragment
Duplan Silk Corporation, Hazleton, Pennsylvania, USA, 1914–1918
silk Technique: printed by engraved roller on plain weave

Dress-weight silk fabric with a border design of floral and calligraphic motifs, in the style of Hispano-Arabic tile. Printed in dark blue, turquoise, and two yellows on an off-white ground.
Sampler
Katharina Haüsler, German, 1828
silk embroidery on wool foundation Technique: embroidered in counted cross stitches on plain weave foundation

Bands of alphabets (without the letter J) and a set of numerals at top, pastoral scenes and motifs at the bottom.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1870
cardboard, paper, and wool Technique: printed plain weave and 2/2 twill

Notebook with handwritten formulas for dyestuffs used for printing textiles. Contains 221 samples in various designs including several printed paisley and challis patterns.
Sketches for scenes 1 and 2 of the cartoon for cotton printing: The History of Henry IV [L'Histoire de Henri IV]
Hartmann et Fils, Munster, France, ca. 1820
Graphite on cream-colored paper, mounted
Drawing

Scene from Voltaire's epic, "Henriade".  Henry IV seated in a landscape near the Port of Dieppe, with his friend, Duplessis-Mornay, converses with a holy hermit (Canto I, lines 229-232).
Cupid and Psyche
Jean-Baptiste Huet, French, 1745 – 1811, 1810
cotton Technique: printed by engraved roller (brown) on plain weave with yellow block printed over it
Textile

Scenes illustrating the story of Cupid and Psyche: toilette of Psyche; Venus in her dove-drawn chariot; Juno and Ceres; Psyche appeasing Cerberus with a piece of bread; Cupid with Psyche bearing Proserpine's gift to Venus; Psyche with her sisters; Psyche discovering the identity of Cupid; Psyche borne Zephyrus; Psyche abandoned by Cupid; Psyche and Proserpine.
Tassel
, late 17th century
silk, metal thread, stuffing for core

Skirt of red and white threads partly covered with a trellis of silver threads over a soft core. Topped with an ornament of red and white threads.
Page Five from "Toisieme Livre Contenant Des Frises ou Paneaux en Longueur Inventés Par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three ornamental compositions in sequence. First: a masque on a shield and bows; second: a vase on a pedestal; third: a female head attached to a console, surmounted by seated putti, flanked by flower baskets and masques. Inscribed, upper left: "C"; upper right: "5"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et excudit".
Study of Clasped Hands
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on grey paper
Drawing

Hands clasped, fingers folded, palms together.
March and April
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

2 in a series of 10 plates
Fragment
, 16th century
silk, silver foil, silk core wrapped with silver foil Technique: compound twill, supplementary weft

Gold-colored silk ground with extra weft of flat silver strips. Symmetrical design of swinging acanthus branches enclosing palmettes which are brocaded in silver thread. White silk extra weft appears in acanthus foliage areas.
Design for Necklace with Brazilian Beetles
, ca. 1900
Graphite, brush and watercolor, white heightening on tracing paper
Drawing

Six small green beetles are fastened to a chain. One large and six medium hang from slopes. Drops hang from the green beetles.
Study for a Church Window
John La Farge, American, 1835–1910, 1890–1900
Graphite and watercolor on paper
Drawing

Arched window with the Cross dividing the opening. Below, double arch, with three roundels set into each side.
Fragment
, 17th century
linen Technique: needle lace

Fragment of raised lace with a tiny trefoil bud and open-work tip.
Band
, 10th–12th century
Warp; silk. Wefts; silk, linen Technique: slit tapestry

Design of interlaced straps in red and yellow
Print
, c. 1770
Paper

1921-6-87: After ''Raccolta di vase''. Top row: After the sec...
Design for Printed Cotton
Mulhouse, 1760–90
Pen and ink, brush and watercolor on paper
Drawing

A single design unit consisting of a serpentine pattern of flowers and foliage. Boundaries of design indicated by red framing line.
Factory mark
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1765–80
linen warp, cotton weft Technique: block printed

Small fragment of printed cloth in red with stamp of Oberkampf factory.
Tassel
, late 17th century
silk, metal thread on linen core, linen

Over a linen core, a skirt of red silk partly covered by a trellis of silver thread and topped with a galloon (probably a later addition). Cord of knotted pink and green silk and silver thread with a knob of galloon (later addition).
Textile
, late 18th century
cotton Technique: plain weave, indigo dyed, resist applied by stencil (katazome)

Traditional all-over geometric design of octagons framing rosettes, and tilted squares, in dark blue and white.