biglam/cooper-hewitt-alt-text huggingface dataset:
Stained glass window panel
John C. Wolf, 1890–1900
Brush and gouache, graphite on tracing paper
Drawing

Design vertical panels with curled vines and small cornucopia.
Five of Spades from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Five of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Flirting on the Sea-Shore and on the Meadow
Winslow Homer, American, 1836–1910, September 19, 1874
Wood engraving in black ink on paper
Print

Upper half:  Middle-aged couple on the sand in moonlight.  Man is propped on elbow facing woman.  Woman is seated with back to viewer.  Lower half:  Two barefoot boys lying in a meadow facing seated girl at high noon.  Family of ducks in the lower left.
Sidewall
, 1900–1920
Machine-printed

Faux or imitation marble pattern: a) printed in shades of brown; b) printed in shades of blue-green. Printed by the "Namalac Process".
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Tree top in the top section of panel, with another tree or bush in the foreground.
Sampler
, ca. 1650
linen embroidery on linen foundation Technique: withdrawn element and embroidery on plain weave

The top three bands from a sampler.
Frieze
, 1905–1915
Machine-printed paper

Printed two across. Stylized scrolling foliage and flowers in formation similar to wave pattern. Printed on tan ground.
Plate in Vasses de la Maison Royalle de L'oo Nouvellement (Vessels of the Royal House of L'oo)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Footed vessel on a pedestal decorated with a cartouche depicting three classical female figures and one putto next to a tree. At each corner of the vessel are draped female caryatids in different poses.
Bowl and stand
, ca. 1825–30
Glass

Large shallow circular bowl with scalloped edge, rim cut with fans, sides with undulating strawberry diamond pattern; base has waisted stem cut with prismatic rings; a band of strawberry diamonds above and a wide domed spreading foot with strawberry diamonds.
Pair of cuffs
, 19th century
cotton, metallic yarns on cotton foundation Technique: embroidered in chain stitches on plain weave

Pair of woven cotton cuffs embroidered with cotton and metallic yards in an alternating pattern of stripes and scrolls in yellow, red and blue.
Sidewall
Gilbert Wall Paper Company, 1905–1915
Machine-printed paper

Yellow ocher quatrefoil motifs connected by white scrolling foliage creating a trellis pattern. Lacey red motifs fill each of the voids created by the trellis framework. Printed on a tan ground.
Sketchbook Page
Kenyon Cox, American, 1856–1919, May 16, 1875
Graphite on paper
Sketchbook folio

Sketch of a child, seated in a chair, wearing a hat with a bow.
Purse
, early 19th century
silk, metal, carnelian? Technique: beaded crochet

Small sac of crocheted black silk with gilt beads, set within a gold rim with a lid ornamented with a wreath in relief, etched pattern, and a cameo of a head in profile carved in reddish stone. Find gold chain, single gold drop. Lined with green silk.
Medallion
, ca. 1900
cotton Technique: needle lace

Circular medallion of a rampant eagle holding arrows in its left talon and an olive branch in the right talon. There is an escutcheon in the center of the eagle's breast and thirteen stars over its head.
Continuous garlands of freesias, peonies, phlox, and morning glories
, ca. 1830
Block-printed on handmade paper
Border

Printed four borders across width, continuous stylized floral garland on cream/peach satin ground with green banding at edges.
Knife
, ca. 1750
steel, ivory

Leaf-shaped blade, slightly hollow in the centre, plain bolster. Pistol- shaped carved ivory handle with floral decoration and a decorative pattern with leaves, beads and scrolls following the contours of the handle.
Two-Tined Fork with Earthenware Handle
, 1745
steel, earthenware, silver
fork

Two long curved tines, baluster-shaped neck. Banded silver ferrule. Pistol-shaped earthenware handle, cream ground with marble pattern in yellow, brown and blue, clear glaze.
Allegory of the Triumph of the Church, Third Scene
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Pen and brown ink, brush and brown and black washes over black chalk on laid paper
Drawing

View of a procession with a female figure identified as an allegory of the Church riding in a chariot pulled by horses. She holds an open book on her lap, and a dove surrounded by rays of light sits on her shoulder. Angels fly overhead, holding banners. Leading the horses at left are two women and a bishop. Other figures, identified as doctors of the church, follow behind. An Italian and Dutch inscription is below. Annotations throughout.
Ceiling paper
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Large trellis pattern of alternating quatrefoils and diamond shapes with concave sides. Both shapes are outlined with foliate scrollwork, and contain large cream-colored blossoms. Faintly rendered, symmetrical sprigs of leaves sprout from points and corners. Pattern is printed in tans and greens on a khaki ground.
Fragment
, late 17th–early 18th century
linen Technique: needle lace

Border of elaborate floral forms with symmetrical branches and curving lines of raised work.
Gourd Vase
, mid-18th century
Tin-glazed earthenware with cobalt decoration
vase

Gourd-shaped vase of dark buff clay, decorated in the "bleu-persan" style, with very loose white decoration on a cobalt glue ground. Sponging at top.
Detail from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Frame around God dividing water from earth, including ignudi and supporting statues. There is only a suggestion of the scene within the frame.
"Assyrian Head" Pattern Table Spoon
Meriden Silver Plate Company, Meriden, Connecticut, 1869–1898, 1885–86
silver plated, metal
spoon

Oval shaped bowl, polished and unadorned surface. Narrow neck and stem, decorated with diagonal reeding halfway down handle, meeting setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Terminal of slightly rounded rectagular shape, with subtle upturn. Reverse side of handle devoid of ornamentation, with plain polished surface.
Sampler
Lydia Sheward, American, 1795
silk embroidery on linen foundation, linen edge tape, cotton needle lace Technique: embroidered in cross, half cross, satin, stem, chain, French knot and running stitches on plain weave foundation with deflected element work and cutwork with needle-made fillings with loop and twist and wrapping; appliqué of woven silk ribbon

A basket of large flowers fills the entire field. Some flowers are embroidered in polychrome silks, while others feature cutwork with needle lace fillings. With the inscription Lydia Sheward 1795.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Printed two across. Mica frieze with bunches of yellow roses reflected over a horizontal, green-line divide. Bunches of flowers are linked with ribbons decorated with more roses and leaves, and page is bordered by brown lines and beaded green lines. Flowers and borders are printed over a textural squiggle background. Design is machine-printed in shades of yellow, green and brown on a tan ground.
Textile
, 18th century
silk Technique: brocade

Allover design in very stylized rendering, houses, and waterall, flowers and bird in tan, gry and rose on green background
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pink and green cross motif centered within a grid design. Also printed in metallic gold on tan ground.
Textile
, late 17th century
silk, metal foil wrapped silk Technique: 4&1 satin damask brocaded with silks and various foil-wrapped silks.

Cornucopia supported by pillars and bracket plus branch of flowers in multi-color silks, silver, and gold on striped damask with related floral pattern. Seams covered by narrow woven tape that also creates a border effect. Salmon and white woven tape with weft fringe at one edge, sewn to four sides.
Design for Wall Decoration for the South Wall of the Entrance Hall, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–22
Graphite on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation of a wall, with a mantelpiece in the center and a doorway at the left. Detail of wall decoration at right of mantelpiece shows a painted design of latticework and narrow columns with foliated shafts, and a column entwined by a dragon. Frieze of niches above contain trophy designs.
Portrait of Pietro Tamburini (Petrus Tamburinus)
, ca. 1790
Line and stipple engraving on paper
Print

Half-length portrait in three-quarter view to right. A middle-aged man with long white hair, wearing a closed coat. The portrait is encircled by a frame decorated with olive-sprigs and a ribbon above; olive-wreath below which connects the frame with an inscribed plaquette.
Woman Shielding Her Eyes
Daniel Huntington, American, 1816–1906, ca. 1844
Graphite on cream wove paper
Drawing

Sketch of a woman's face, seen frontally, looking slightly to the right. Left hand to brow, shielding eyes. Shoulders and hair slightly indicated. Verso: Light outline of a full figure in pose, arm to forehead.
Developpement et aßemblage de Charpente concernant diverses Combles à l'usage des Bâtiments
Jean-François de Neufforge, Flemish, 1714 – 1791, 1768
Engraving on paper
Print

Framework designs for roofs. The plate is signed and numbered.
Plan et Décoration convenable pour un Cabinet;
Jean-François de Neufforge, Flemish, 1714 – 1791, 1757
Etching and engraving on laid paper
Print

Interior wall elevation and plan for a cabinet decorated with neoclassical motifs and ornament. The wall features a central chimney and overmantel mirror, pilasters, and doors flanking the mantel, with oval overdoors decorated with figures, and coffered rosettes. The doors, casing, mantel, and cornice are finely decorated with carved moldings, repeating patterns, Vitruvian waves, rosettes, coffering, leaves, and floral motifs. Below the elevation is a plan view of the doors and a detail of the molding with a scale. The plate is titled, numbered, and signed.
Stage Design: Interior of Gothic Cathedral
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

High nave of cathedral seen through the vaults of entrance. Statues placed in front of columns.
Landscape Sketch with a Hilly Country Road
Samuel Colman, American, 1832–1920, ca. 1881
Black crayon on cream-colored paper.
Drawing

Vertical view of hilly country with a road leading backwards to cabins under two trees at the right and a wood at the left.
Atalanta and Hippomenes
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and ink on paper
Drawing

At top, sketch of figures in a landscape. Below, are two elevations and a design for a ceiling.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-32: Part of a set of Italian Minchiate playing cards.50
Cloudy Landscape
Frederic Edwin Church, American, 1826–1900, 1865–80
Brush and oil, on off-white paperboard
Drawing

Incomplete landscape sketch showing a view of tumultuous and color clouds above a wooded landscape. The lower portion of the composition is not rendered, and leaves the grayish ground visible. At center right, a loosely rendered grove of trees is visible within a gently rolling landscape that extends horizontally across the composition. The clouds above, comprising most of the scene, are extremely loose and seemingly windswept. A center and center left, a burst of yellow, red, and purple light is visible.
Carved Details of a Carriage
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Carved details for decorating a carriage, including clasps and scrolls. The plate is signed and numbered.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork designs featuring a capital, key head and roundel ornament decorated with an eagle, snake, masks (mascarons), torsos, foliate scrolls, festoons, rosettes, and scrolling leaves (rinceaux). The plate is signed and numbered.
L'Eau
Maurice Jacques, French, ca. 1712–1784, 1758–64
Hand-colored etching and engraving on paper
Print

An ornamental hanging trophy design representing the element of water with its attributes, including parts of a ship, sails, nets, jugs, a trident, shells, reeds, cattails, water, an anchor, pearls, medallions, and coral. The plate is signed and titled. The publisher's address has been partly rubbed out and the name ‘Mondhare' has been added later. The plate is hand colored.
Old Rough and Ready
, ca. 1846
Block-printed paper on pasteboard support
Bandbox and Lid

Blue ground; in pink and white, figure of general on horse; tents in background. Legend: Gen'l Taylor Old Rough and Ready, around top.
Sailors
Robert Frederick Blum, American, 1857–1903, 1882–1883
Graphite on wove paper
Drawing

Recto: Sketch of three male figures wearing uniforms abroad a ship; Verso: Sketch of two horse-drawn carriages.
Compartimens pour differens Usage tel que Marqueteries
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Twelve designs for ornamental compartments for various uses featuring neoclassical motifs such as meander or Greek key motifs, interlaced circles, and a star. The plate is titled, numbered, and signed.
Title Page
François Boucher, French, 1703–1770, 1738–49
Etching on laid paper
Print

Title page for a series of designs of putti by F. Boucher. The title is lettered in the center, over a piece of fabric held up by two putti seated and standing in clouds. The plate is numbered, and the series is lettered, with address below.
Sidewall
, ca. 1780
Block-printed on handmade paper

Diagonal lines of white dots on a pale blue field. Dotting interrupted by repeating wreath medallions containing roses, with rose buds sewn over field. Vertical rectangle.
Encoignures à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two side tables. The table on the left is decorate with ornament motifs including lamb tongue, bound leaf, rosettes, and a garland. The table on the right is decorated with ornament motifs including Greek key pattern, rosettes, lamb tongue, lozenges with flowers within, ribbon twist, and scrolling acanthus leaf at the base. The plate is signed.
Château de Madon par Mr. Mandar Architecte Ingenieur en chef des Ponts et Chaussée
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a chateau with an elevation of the exterior within its garden landscape, along with two details of friezes with figures sculpted in relief. The chateau features neoclassical motifs, with columns, a pediment, and friezes. The plate is titled, numbered, and signed
Entablement Dorique
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Design for a Doric entablature. The cornice features a band of lamb tongue; the frieze has three engaged, scrolling triglyphs with leaf detailing, and recessed panels with circles in the metopes; the architrave is carved with egg and dart and bead bands, and has hanging pinecones. There are a series of measurements for the entablature printed on the left side of the plate with a scale bar of "24 parties." The plate is signed and numbered.
Cartouche with Young Tritons
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical oblong rocaille cartouche with two young tritons at left and right. Other nautical elements (fishing net, anchor) surround the ornamental design. Within cartouche, a seascape featuring a ship sailing on the sea away from a rocky island.
Coat
, 1770–1780
silk Technique: embroidered

Man's coat of brown grosgrain embroidered with floral design in pale polychrome colors.
Cloud Sketches with a Common Poplar
Frederic Edwin Church, American, 1826–1900, August and October 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Sketches of groups of billowing clouds, separately located at upper and lower center, and a common poplar tree at upper right. Produced in Hartford, Connecticut, or Catskill, New York.

Verso: Landscape sketch showing a vignette view of rapids on Catskill Creek, in Catskill, New York. Located at upper left, the sketch features dark rocks in the center of the creek and lush vegetation on either bank.
Sunset Clouds over Purple Mountains
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on tan paperboard
Drawing

Landscape sketch showing a view of a tumultuous cloudy sky at sunset above a distant mountain range--possibly a view of the Catskills looking north from the artist's property near Hudson, New York. The foreground and middle distance are rendered as broad swathes of deep green paint, while, in the background, a purple mountain range rises at right and slowly descends to a low, round peak at center. Above, a group of dark, low-lying clouds dominates the sky while other low, gray clouds and a brightly lit bank of clouds are visible behind them. A sliver of light blue-green sky shines through at center.
Design for a hand screen
Bellay, French, active from 1734, ca. 1740-1762
Etching on paper
Print

Design for a hand-screen decorated with seated figure below a chinoiserie-style canopy, the design is incorporated within a rococo style framing device, featuring c-scrolls, a palm, flowers, shells and tented canopies. The plate is signed in the lower left corner. The etched sheet is cut-out and pasted onto the left side of a larger sheet. The right side of the sheet is framed in graphite with inscribed numbers also in graphite.
Fragment
, 1750–1800
silk Technique: cut and uncut voided supplementary warp pile in a satin foundation (pile-on-pile velvet)

Small-patterned or "miniature" velvet with a white satin foundation forming short branch-like motif, which support a double floral spray in pink and black cut and uncut pile. Background design in uncut pink pile. Composed of two pieces, two selvedges present in seam.
Hunting Panthers using Human Excrement
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Recto: pen and brown ink, brush and black wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: In a landscape, big cats—identified as panthers but having spots like leopards—spring up at bowls containing excrement, suspended from the branches of two trees. Two other big cats lie dead. Hidden behind bushes, shepherds watch from the background at left. 
Verso: Italian inscription relating to the recto. There is also a series of dots with an illegible number (possibly "38").
Project for the decoration of a silver plate.
, 1590–1620
Black chalk, pen, ink, bistre wash on paper.
Drawing

Elongated quatrefoil. A nymph rides upon a sea centaur, accompanied by three mermen, and a nymph on a dolphin. Top part of eagle in ovoid under a crown; scheme of Briquet 209.
Camel Studies, Palestine
Frederic Edwin Church, American, 1826–1900, March 2, 1868
Graphite on white wove paper; verso: graphite
Drawing

Camel studies showing a caravan of five camels walking atop a ridge or sand dune, visible along upper margin, and eleven partial sketches of camels below, includeing the heads and necks, hind legs, and bodies of the animal in various positions.

Verso: Study of a seated camel, viewed in profile and measured according the dimensions of this leaf. Animal is shown saddled and yoked. At right and oppositely oriented, two views of a camel from the rear are shown--one is being ridden.
Table Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Elevation of a round table with an incense burner on top. The front of the table is carved with a shell in the center, and a guilloche with rosettes along the sides; a garland of roses and tassels are draped along the bottom edge. The table has tapered, fluted legs with acanthus leaf ornamentation. The plan view of the table is indicated directly under the elevation. Below the plan is a scale bar of three French feet ("Echelle de 3 Pieds"). The plate is signed and numbered.
Sampler
, 14th century
silk, metallic Technique: brocaded 5 harness damask

Trefoils, each enclosing a rose flanked by diagonal banderolles with debased Islamic inscription. Brocaded metallic palmettes and horsehoe crabs or insects.
Project for a Sepulcher Monument
, 1820–1830
Graphite on off-white laid paper
Drawing

Figure readings and seated on a sarcophagus, which stands on two pedestals. Against the upper pedestal leans two angels. Accounting.
Design for a Watchcase Lid or Medallion
Jacques Vauquer, French, 1621–1686, 17th century
Engraving on laid paper
Print

Two small ornament prints, side-by-side - designs for medallions or lids for circular watchcases. To the left, an early proof of a design featuring scrolling leaves, fleurons, rosettes, a mask, fruit, flowers, and birds. To the right, the design includes a central basket of fruit and leaves surrounded by scrolling leaves, fleurons, two vases of flowers, three birds, flowers, and fruit. Another impression of this same design is pasted above on the same page of the album.
Riche Diligence de Ville Montée sur des Ressorts a l'Angloise
Janel, French, active 18th century, 1760-1790
Etching and engraving on laid paper
Print

Design for a stagecoach with images showing the profile, the face of the carriage, and a detailed diagram of the spring mechanism. At left, is a key of the plan for the design. The stagecoach is richly decorated with painted scenes of Minerva with a Coat of Arms upon a cloud, and features carved ornament motifs including rosettes, bead and leaf course, garland, scrolling acanthus leaves, and urns. The plate is signed and numbered.
Ornamented Chimneypiece Design
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The plate on the left is divided down the center, with variations on the shape and motifs of the fireplace, mirror, and paneling. The chimneypiece on the right plate has an oval medallion at the top of the mirror and a small shell-shaped ornamental clasp at the center of the fireplace. Both plates are signed and numbered.
earrings
, early 19th century
Topaz, silver, gold

A and B: gold ring with ornament of one topaz and four paste diamonds, from which hands a loop of eight paste diamonds wtih one topaz hinged to hang in the center.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, 1898
Graphite on paper
Drawing

Sketch of a magazine cover with a male figure wearing a United States Navy uniform and the outline of a female figure placing a crown on his head.
Sea Cintaur Combats Sea Monster
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and brown ink, graphite on cream laid paper
Drawing

Two different compositions situated one on top of other. Above, sea monster clubbing forehead of centaur.  Woman, riding centaur, jumps into water.  Below, centaur with satyr woman riding on his back, holds club in lowered arm and stag head against mouth of monster.
Woodblock Trial Proof for a Printed Textile
, 1790–1800
Brush and gouache on paper
Drawing

Pink blooms, similar to foxglove, with leaf, sprig on three stems.
Entrance wall of a salon
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Entrance wall of a salon.