biglam/cooper-hewitt-alt-text huggingface dataset:
Nine of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Nine of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Two pink wild roses, green leaves, on grey vines, surrounded by small white flowers on slate-black ground.
Darning Sampler
, 1811
cotton, wool, silk Technique: embroidered in running (pattern darning) and cross stitches on plain weave foundation

Twenty darning stitches.
Bowery Theater, New York, NY
Alexander Jackson Davis, American, 1803–1892, 1828
Engraving with etching, brush and watercolor on paper
Print

Vertical format. Exterior view of an architectural design for theater. The portico is shown, in Roman Doric style, with six columns. Three figures standing on the porch. The rest of the building is enveloped in clouds, also above building. At lower left: "A. J. Davis del.;" lower center: "W. Hooker Printer;" lower right: "Rawden, Wright and Co. Sc N. York;" "Sera Arch." Caption below.
"Cawston Ostrich Farm, South Pasadena, California"
Whitehead & Hoag Company, ca. 1900
Nickel-plated metal, printed celluloid
Matchsafe

Rectangular, with rounded corners, featuring printed advertisement for Cawston Ostrich Farm.  The front displays image of man in tan suit and black bowler hat sitting astride an ostrich, both facing left; below image is the inscription "Cawston Ostrich Farm," "South Pasadena, California."  Reverse with image of six ostriches standing before or behind a shrub in an open field, with rail fence and trees in background.  Lid hinged at side. Striker in recessed groove on bottom.
Textile
, 17th–18th century
silk Technique: predominantly warp-faced plain weave with supplementary warp patterning

Warp stripes of various widths in green, yellow, salmon, pale pink, and white; some with small checks in a contrasting color using blue, yellow and orange supplementary warps.
Sidewall
, 1810–20
Block-printed and flocked on handmade paper

Wide area of all-over pattern of gray lines on gray satin ground, flanked by two vertical bands of white and lavender flowers and green flock leaves, and one band of brown rope on flocked maroon ground.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf with plain red field, red and black border with design of fabric swatches
Weave Pattern
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

A broad weaved pattern with dogs, and jagged edges form this geometric motif. The edges of the weave suggest an ikat style design.
Valentine Greeting
, ca. 1850
Brush and watercolor, cut-paper on embossed paper
Greeting Card

In the center, a floral spray around an embossed gold paper wedding ring encircling Cupid as a letter-carrier. Inscribed in blue ink: "May Cupid thee to pity move / For pity melts the soul to love".
Unfinished Mountain Study
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Half-sketched peak in top center, outlines of peaks in foreground and background, some sky details.
Ceiling paper
, 1907–08
Machine-printed on paper

On honeycomb light peach ground, treillage of medallions in blue, cream, brown, green, and tan.
Military College, Chelsea, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1810
Aquatint, brush and watercolor on paper
Print

Young men in red jackets and blue trousers, seated in rows at desk, along one wall of a hall, listening to a lecture. Others at left, standing before desks. Title, artists', and publisher's names below.
Heavenly Bamboo Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Heavenly bamboo (nandina) is a common plant in Japan. Often represented in branch form with its red berries that make this bamboo stand out. This stencil shows a wide range of sizes of leaves grouped in three. Silk threads are added to help connect the gaps within the stencil.
Low Hall
Arnold William Brunner, American, 1857–1925, 1879
Graphite on paper
Drawing

View from low hall with arched entrance up along stairway.
Herms
, about 1600
Black ink on paper
Print

Horizontal rectangle. Five herms, two at the lfet terminating in scroll volutes.
Shipyard and Pier
James Henry Moser, Canadian, 1854–1913, February 16, 1878
Black crayon on brown paper
Drawing

View looking down the pier out to sea. Building at right, with barrels, figures, and ship's masts beyond.
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Geometric maze-like patterns in brown, blue, green, and yellow on black ground. Lower section, vegetal patterns in yellow and red.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Repeating motif of three tulip flowers and foliage. Printed in red and green on tan background resembling textile.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a fan-shaped form in weft ikat alternating with a stepped geometric shape in warp and weft ikat.
Fragment
, before 1800
cotton Technique: embroidered on plain weave

Plain weave undyed cotton textile embroidered with black yarns showing allover pattern of small crosses and large floriate crosses.
Sampler
, 19th century
silk embroidery on wool foundation Technique: embroidered in cross and satin stitches on plain weave foundation

Two alphabets and isolated motifs including Adam and Eve, Crucifixion, Jerusalem, angel holding flag, and sybols of the Passion.
Fragment
, late 16th–early 17th century
metallic strips wrapped around linen core Technique: bobbin lace

Wide border fragment with a pattern of symmetrical diamonds placed on diagonals.
Sketches in Naples
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Busts of three men, center left, profile of bust of man with hat and beard facing right. Below, lower left, sketches of two men facing forward, both wear hats. Various sketches of sailboats sailing throughout right side of page.
Design for a Compact
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gouache on cream paper
Drawing

Design for a compact cover with a woman in a purple dress; holding a large black feather fan, against a light orange ground.
Ein façonirter Schreib-Tisch,… (Writing Desk and Chair)
Johann Jakob Schübler, German, 1689–1741, ca. 1720
Etching and engraving on off-white laid paper
Print

An elaborate writing desk is featured in a draped corner of a room with a bookshelf on the left and a window at right. Ornamented with globes at left and right, the desk features four sections with multiple drawers at the base, as well as a central cartouche shaped drawered section above. Decorated with swags, festoons, heavy architectural mouldings and surmounted by an astrolabe, this central section holds a candle, writing materials and a book rest above a slanted writing board. An equally elaborate chair is placed in front of the desk.
Window shade
, 1870–1900
Block-printed and hand painted on canvas

Three design elements printed on a tan ground. Each of the three elements is a different example of a frame style. The outer two elements each contain an urn with a bouquet of flowers that is hand painted. THe frames printed in colors and metallic pigments.
Robe for a statue
, late 18th century
silk, metallic Technique: plain weave with discontinuous wefts (slit tapestry) Label: silk and metallic slit tapestry (kesi)

Small robe, possibly for a statue, with a tiny rounded neckline and asymmetrical closure, with yellow silk ties at the neck and side; side openings are edged with bright blue silk. In yellow silk tapestry weave, kesi, with metallic gold dragons on the front, back, shoulders and sleeves. The ground is filled with clouds motifs in blue and green; flaming pearls, bats, and other auspicious symbols. At the bottom is a deep wave border of multicolored diagonal stripes. 
This small robe was most likely used to clothe a deity statue in a Daoist temple. The 5-clawed dragon and the bright yellow color were symbols of the Emperor of China, indicating that this robe was an imperial donation to a temple or used to clothe an image of a legendary emperor.
Vase
Rookwood Pottery, American, 1880 - 1967, 1901
earthenware
vase

White stoneware, molded. Bulbous body tapering upward from the shoulder to neck; subtle foot. Decorated with a carved design of a goose in gray-green mat glaze, its outstretched wings are arranged diagonally as it dives down toward the foot. Around body carved cloud patterns, modeled swirls, and diagonal ridges gives the impression of movement. Background colors shift from pale yellow to light and dark gray glaze. Interior and bottom: glazed; mat pale yellow.
Edging
, mid-18th century
Technique: bobbin lace

Bobbin lace double edge joined, flowering vine; mid-18th century Valenciennes Fond
Sketches of Decorative Details from Cairo
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Sections of grillewrok, top; below, a lamp and vases with notes on color and place name.
Catching Night Moths, plate 25 from the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596
Black ink on paper
Print

Horizontal rectangle. The apiary is at right. In the foreground, the bee-masters are beating the bushes, driving out the moths hidden in them toward flaming lamps set up on the ground. At lower left: "I. Stradanus inv. C Galle sculp"; at lower right: "Phls Galle excud." Below: "MELLIFERIS INFESTI APIBUS SUNT PAPILIONES..."
Band
, late 16th century
linen, black beads Technique: bobbin lace, discontinuous tape

Image of sirens in a floral band.
Textile
, ca. 1730
silk Technique: 7&1 satin weave with continuous (green and yellow) and discontinuous (2 reds, yellow and textured blue) supplementary wefts. The continuous wefts are bound into the structure in twill binding; the discontinuous wefts float on the back.

Vertically symmetrical design of elaborate plant forms with detailed fillings in lace-like pattern. Soft shades of ivory, green, yellow, blue, pink. orange and tan.
Fragment from a bowl
, 1st century
glass
Fragment

Irregular four-sided fragment of burgundy -colored millefiori glass incorporating one complete and parts of nine other four-lobed ornaments in layers of white, burgundy, white, and yellow. The ornaments vary in size, shape, and angular orientation. Both surfaces polished.
"Here Is Your Match"
, late 19th century
Plated metal
Matchsafe

Rectangular, curved top, bottom, and sides, featuring bulldog's head inside jagged or torn edged reserve, inscribed on lid above "Here is your Match", identical on front and reverse. Lid hinged on side. Striker on bottom.
Sidewall
, 1905–1915
Machine-printed paper

On gray ground with allover white and black specks, staggered  medallions composed of framed white scrolls, beaded frame and inside burgundy ground with lavender scroll motif.
Fragment
, 18th century
linen Technique: embroidered

Fragment with a central design of carnations in a vase with reindeer on either side.
commemorative
, 1876
wood, pressed
Plaque

"Centennial Exposition / Horitcultural Hall"
Sampler
Mary Mankin, 1810–19
silk embroidery on linen foundation Technique: counted and uncounted stitches; cross, herringbone, stem, satin, and couching stitches on plain weave foundation

Within a curving, floral border, a top band of buildings and two people skipping rope; a center band of Adam and Eve and with the Tree of Knowledge, birds and plants; and a verse: 
"May virtue guide my inexperienced youth and lead my footsteps to the path of truth" and inscription:
Mary Mankin Aged 14 181_ taught by Mahymer (?) 
The last letter of the date was removed, and 2 was written in ink.
The Common Law, Study for Left Panel of "The Reign of Law," Frieze for Appellate Court, New York
Kenyon Cox, American, 1856–1919, 1898
Brush and brown wash, red pencil, graphite on canvas
Drawing

The central allegorical figure represents The Court, handing down a judgement. Her supporters on either side carry the fasces. The allegorical figures to either side represent Equity, holding scales, and Tradition, holding an Endless Chain.  The circles in the corners suggest where wreaths should be placed in the final composition. Squared for transfer.
Bergere carrée et Fauteuil a la Reine carré
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper
Print

Title page and four designs for armchairs, with oval and square backs, upholstered with floral motifs with hanging drapery. A scale below. The plate is titled, numbered, and signed.
Costume Drawing with Female Figure
, 1740–1780
Pen and red ink, brush and sepia wash on paper, mounted
Drawing

Shown in three-quarter length turned toward the left, with the head in profile. The right hand points toward something. The woman wears a turban with a jewel, and a western-style coat. Mounted with typewritten label.
Nymphs Bathing Near a Cave
Christian Wilhelm Ernst Dietrich, German, 1712 - 1774, 1741
Etching on laid paper
Print

A group of nude women are seen bathing near some cattle. A shepherd and more cattle in the distance. Inscribed, bottom margin: "Dietrich... 1741 6 Oct."
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on grey paper
Drawing

A detailed sketch of female figure's head and facial expression. Shown in three quarter profile thrown back and turned toward left. The girl laughs and looks sharply towards left.
Design for a Church Wall Entrance
, ca. 1780-1790
Pen and Chinese ink, graphite on paper
drawing

Closed folding door flanked by two bays, each with three rows of stalls. The main door panels are decorated with trophies of relgious symbols and objects that attribute to martyrs, respectively. A trophy of arms lies in the overdoor. Within the shield is a coat of arms consisting of eight spokes ending with lilies.
Design for the Emrboidery of a Man's Waistcoat
, 1780–1790
Brush and gouache, oxidizing white on paper
Drawing

Flower boughs along the outer edges. Flower festoons and strings of beads are suspended from the bottom edge of the pocket.
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases, foliate branches, scrolling leaves (rinceaux), fleurons, birds, garlands and festoons of leaves, baskets of flowers, female figures, and a mascaron (mask). The plates are numbered and the right plate is signed.
Man Dancing
Jean-Baptiste Pillement, French, 1728–1808, mid- 18th–late 18th century
Etching on laid paper
Bound print

A chinoiserie-style print from a series of allegorical representations of the twelve months of the year. A male figure stands on one foot, in a dancing position, within a garden, surrounded by trees, flowers and plants. A railing runs to the right of him with a pergola structure in the background. The plate is numbered and the lower right corner is torn, with the corner missing.
Fragment
, 15th century
silk Technique: supplementary warp pile in a 4&1 satin foundation (velvet)

Blue voided velvet of the ferronerie type with design based on the pomegranate motif.
Design for a Funerary Monument
, 1780–1790
Brush and brown ink with red chalk and traces of graphite on off-white laid paper
Drawing

Upon a high base with burning lamps on short solomonic columns is an obelisk with figures at the base.
Study of the Back of a Young Man's Head and Raised Right Hand
The Baltimore Museum of Art, early 18th century
Red crayon on paper
Drawing

Vertical rectangle. Taken from or intended for a composition, putting into view only a part of the hand. Seen from the right side, behind. Above in the right corner,
Lazaretto at Hebron, Palestine
Frederic Edwin Church, American, 1826–1900, February 12-15, 1868
Graphite on white wove paper; verso: graphite
drawing

Architectual sketch showing a view of the buildings of the lazaretto, or quarantine station, of Hebron, Palestine. Two structures on an elevated platform with a staircase are the central focus. Square building on left has a domed roof while building at right is cubic. Square, hewn stones comprise buildings, platform, and walls behind. In foreground at left, the corner of another bulding is visible. 

Verso: Landscape sketch showing the first half of a panoramic view overlooking Hebron, Palestine. Numerous buildings, including a mosque with minarets, are visible throughout right portion of composition. Pool is included in foreground at right. Rolling mountains backdrop the scene on theh horizon.
A Man with Tongs
, 1625–1650
Black chalk, pen and ink on paper
Drawing

Man shown from the back. He carries the tongs upon his right shoulder. Beside him is a square block.
A Winged Victory in the Right Spandrel of an Arch
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and black ink, graphite, brush and wash on paper
Drawing

Right half; a triangle with a Nike holding in her outer hand a bar with a trophy, and in her inner hand a wreath. The outlines of the arch and of the case, and the keystone are sketched. Inscribed in black chalk: "fama del arco".
Liguanea Plain, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Oil and graphite on off-white paperboard
Drawing

Landscape sketch showing a view overlooking the Liguanea Plains in Jamaica, which were north of the city of Kingston at the time. In the immediate foreground, red soil that probably makes up a road or path is shown beside a densely vegetated slope that descends towards the middle distance. The flat, fertile plains of Liguanea extend horizontally across the composition, before encountering the ocean shoreline at right and a mountain range at center and left. Puffy, low-lying clouds cast patchy shadows over the mountains themselves, while the sky is otherwise blue and clear.
The Parthenon and Erechtheion, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper
Drawing

Architecture and landscape sketch showing a view of the Parthenon and the Erechtheion on the Acropolis of Athens, Greece. The foreground is strewn with architectural fragments, including the capital of a Corinthian column at lower center, just in front of a headless statue of an enrobed woman, likely Athena. A group of stone blocks and bricks is visible in the foreground at right, while behind it, the facade of the Parthenon--viewed frontally--rises handsomely. Its prominent colonnade and ruinous pediment are rendered with precision. Behind the Parthenon at left, the Erechtheion is shown with its trademark caryatids (or columns in the form of female figures) prominently visible. Other architectural ruins are visible at far left. A rugged mountain range extends across the horizon in the background.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page with the title lettered in the center of an oval medallion framed by festoons of flowers and trophies within a rectangular frame with a laurel leaf molding. The frame is topped with an acanthus leaf clasp and a trophy representing the arts with a lyre, sheets of music, palette, paintbrushes, and a portfolio. Below the oval frame, more attributes to the arts and science with a painting on an easel, sculptures, portrait bust, classical fluted column, a globe, paintbrushes, palette, telescope, guitar or lute, musette, or bagpipe, print with geometric instructions, and flowers. The plate is dated and signed with the publisher's address.
Design for a Candlestick
Joseph Anton Seethaler II, German, 1799–1868, ca. 1825–35
Graphite, pen and black ink, brush and wash on paper
Drawing

A small grapevine is wound around a column upon which two sphinxes support a starred sphere. Fastened to it by spokes is a ring supporting light sockets of which seven are shown.
The Artist's Mother Seated, in an Oriental Headdress: Half Length
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1631
Etching on laid paper
Print

Half-length portrait of an elderly woman, seated, facing right in profile. Both hands are visible. She wears an Oriental headdress.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and orange, yellow gouache on glazed tracing paper
Drawing

Variation of the coloring of the leaf festoon, of the cords and tassels, and of the design of the bow knot in -108.
Three Trophies
, 1650–1700
Pen and brown ink on lined laid paper
Drawing

Horizontal rectangles showing three designs for military trophies. At center, a helmet.
Plan de l’Hostel de Monsieur le Marechal d’Aumont
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural floor plan of the Duc d'Aumont's Parisian hôtel particulier (grand house) with a scale below. The plate is titled and signed.
Mountain Landscape
Frederic Edwin Church, American, 1826–1900, 1868–1886
Brush and oil, graphite on tan paperboard
Drawing

Landscape sketch showing a view of a rugged, barren mountain--possibly in Mexico (resembling Iztaccihuatl or Nevado de Toluca), Ottoman Syria, or elsewhere. The foreground and middle distance are rendered only in graphite and include a wooded hillside in the middle distance at right, a possible lake or body of water at center, and a group of trees or bushes at left. Rendered in oil paint, a distant mountain dominates the scene in the background. Its slopes are barren and dry (i.e., without trees or snow) and its ridge has several rugged peaks. The open sky above is a deep shade of blue.
Canal, Venice, Italy
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Brush and watercolor, gouache, graphite on paper
Drawing

Sketch of a canal with gondolas and a bridge with houses lining the banks.
Fragment
, 15th century
silk Technique: 5&1 satin patterned by plain weave (lampas)

Irregularly shaped fragment of woven silk. Large, curving leaves form an inverted heart-shaped framework resolving in a center stem surmounted by a cone. Confronted rampant crowned lions flank the center stem. In red, yellow and white on a deep green satin ground.
Design for a Salt or Pepper Cellar
Giovacchino Belli, Italian, 1756 - 1822, ca. 1800
Pen and brown ink, brush and gray, blue wash, graphite on paper
Drawing

Vertical rectangle. Design for a salt or pepper cellar intended to be executed in silver with a green-blue glass bowl. The design corresponds to that of 1938-88-649 with vine instead of blossom festoons: below is a circular base with a part of a sphere in the center. The supports are four scroll legs, fluted in the lower parts of the front and fastened together by a ring with rosettes. Above are Medusa masks which are connected by festoons, upon the bowl. The rim has a wave ornament. A flat sphere cover is sketched in graphite.
Wall Bracket
Minton Ceramics Manufactory, English, established 1796, ca. 1880
porcelain (possibly parian), vitreous enamel
wall bracket

A putto, wings outstretched and hands raised, supporting a semicircular shelf with moldings in pâte-sur-pâte.
Designs for Two Cabinets
, ca. 1805
Pen and black ink, brush and watercolor, graphite on paper
Drawing

Two cabinets, each with alternative treatment of door tracery and one with pedestal and bust on top. Scale below.
Two Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates featuring vases on plinths, with festoons of leaves and flowers, mascarons (masks), female figures, wave, egg, and laurel leaf repeat pattern moldings, fluting, and gadrooning. The plates are numbered.
Trophy
, ca. 1780
Pen and ink, brush and watercolor, black chalk on paper
Drawing

A tambourin, a bow, and a hunting horn.