biglam/cooper-hewitt-alt-text huggingface dataset:
Plate 31, from Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

1921-6-212-32-a: Candlestick on platform; twisted from bottom up wi...;     1921-6-212-32-b: Rocaille design with large seashell at center full...
Textile
, early 19th century
wool Technique: printed by heated roller on velvet (baste fiber plain weave with wool supplementary weft)

Overlapping circles containing stars. The stars are in relief, the circles have been pressed down. In a strong yellow.
Group of Twelve "Hans Sloane" Botanical Plates
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plates

1957-11-2/13: A group of twelve plates with a wavy, brown-edged ...;     1957-11-2: A plate with a wavy, brown-edged rim, painted with...
Border
, 1850–1900
Block printed and flocked paper

1972-42-114-a: Printed architectural molding with gild edge bands...;     1972-42-114-b: Printed architectural molding with gild edge bands...;     1972-42-114-c: Printed architectural molding with gild edge bands...;     1972-42-114-d: Printed architectural molding with gild edge bands...;     1972-42-114-e: Printed architectural molding with gild edge bands...;     1972-42-114-f: Printed architectural molding with gild edge bands...;     1972-42-114-g: Printed architectural molding with gild edge bands...;     1972-42-114-h: Printed architectural molding with gild edge bands...
Sauceboat (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel, gold
sauceboat

1938-57-386-a: Each is of irregular oval shape; spouted on each e...;     1938-57-386-b: Each is of irregular oval shape; spouted on each e...
Cream pitcher
, ca. 1887
Pressed glass

Clear glass cylindrical form with pressed decoration. Circular scalloped mouth with spout surmounting section decorated with pressed dotted pattern of alternating Maltese cross and fleur-de-lis motifs on swags above the phrase "JUBILEE OF QUEEN VICTORIA 1837 1887"; reeded bottom section; ovoid loop handle; crown impressed on underside of base.
Sidewall
, ca. 1800
Block printed on handmade paper

Bouquets of red flowers set within floral garlands. Printed in red, pink, green, brown and pale yellow on dotted yellow ground. One section has a ribbon and rod border, printed in grisaille, attached.
Sampler
, ca. 1882
mercerized cotton embroidery on linen foundation Technique: embroidered in satin, feather, cross, eyelet, and detached chain stitches, with withdrawn element work and deflected element work with looping and overcasting stitches on plain weave foundation

White on white sampler assortment of patterns of withdrawn element and deflected element work work and solid motifs.
Sampler
, 19th century
cotton Technique: embroidered in stem and satin stitches on plain weave foundation

Alphabets at top; monograms and motifs at bottom, all in red on white. Marking sampler
Sidewall
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, allover honeycomb pattern made up of white beads; vertical bands composed of stripes with staggered medallions composed of peach colored flowers with leaves framed by geometric border in white and gold garland.
Jar
William Frend De Morgan, British, 1839–1917, ca. 1888–97
Glazed earthenware

Two high handles rising from the shoulders. Blue Hispano-Moresque  decoration with dolphins.
Textile
, 1917–18
cotton warp and linen weft Technique: printed

Textile printed in red, white, blue, buff, grey, etc. commemorating French and American friendship groups in oval medallions, with Statue of Liberty in center.
Fragment
, 200–500
wool, linen Technique: tapestry weave

Tapestry woven fragment showing a leaf shape on a dyed brown ground. At center, interlacing lines form a tree shape.
Sampler
, late 18th century
silk embroidery on wool foundation Technique: counted and uncounted stitches; cross and satin stitches on plain weave foundation

Scattered motifs including flowers, crowns, animals, birds, and Adam and Eve with the Tree of Knowledge in colored silks, predominantly green and yellow.
Sampler
, 19th century
silk embroidery on cotton foundation Technique: embroidered in cross, back, straight, running, scotch and tent stitches on plain weave foundation

Square sampler in two sections. The upper register has bands of small scale geometric and floral patterns and spot motifs. The lower register has a deer, a bird on a flowering branch, and a girl in a pinafore with a wreath.
Ceiling paper
, 1905–1915
Machine-printed paper

Large square medallions connected by foliate scrolls, creating a circular void around each square motif.
Blue-Headed or Red Bee-Eater, Plate 9 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Tropical bird on a branch with a blue head and pink and blue body, with a long red rail, and red (some green) wings. Title and artists' names below.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Circular motif alternating with a square motif. Circular motif is composed of a bellflower wreath with an outer surround of fleur de lys, while the square is a quatrefoil. Printed on a tan ground.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace, reticella style, edge of punto in aria

Wide border of two rows of squares bordered at one side by pendants. Squares and pendants filled by circular blossoms.
Sidewall and border
, 1890–1920
Machine-printed

Peach water lillies, green and gold.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

A series of foliate medallions which alternate small fleurs-de-lis made of "C" scroll shapes. Bottom contains a scalloped border made up of acanthus leafs. Printed in shades of green.
Chintz fragments
, 18th century
cotton Technique: mordants for red, purple and black applied by pen or brush; blue applied over resist; on blue background chintz blue applied by immersion (chintz) on plain weave.

Component A is fragments sewn together as in French flag; red background, white background and blue background chintz. Direction of pattern changes. Component B is two pieces of blue background chintz sewn together.
Border
, 18th century
silk embroidery on linen foundation Technique: satin, stem and chain stitch embroidery on plain weave foundation

Skirt border of natural-colored linen, embroidered in blue, green, yellow, red, cream and white silks.  Design of stylized flowers in pots, mermaids, and birds. Needle lace edge.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Yellow damask with an allover design of a carnation in a vase above two confronted, rampant lions forming an ogival shape.
Villeneuve from Old Château
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Looking from above on houses and courtyards
Textile
, 19th century
cotton Technique: leno

Fragment of a blouse in stripes of alternating leno and seersucker weave in natural cotton.
The Bathers
Winslow Homer, American, 1836–1910, 1873
Wood engraving in black ink on paper
Print

Two women in bathing suits on the beach.
Panel
, 18th–19th century
silk and wool on cotton Technique: embroidered on plain weave

Rectangular panel with three symmetrical floral repeats embroidered in green, blue, red, white and black silk and wool on a predominantly orange embroidered ground in a variety of surface stitches.
Sidewall
, 1880–90
Machine-printed

Morris-derived floral pattern. Symmetrical on either side of a vertical axis, fantastic flowers in pastel shades of blue, apricot, mustard yellow rise from pastel green curving foliage. The floral and foliate forms outlined in reserve of ungrounded paper color, with dark green background.
Academic Study of a Male Nude
Giuseppe Longhi, Italian, 1766–1831, 1805
Black and white chalk on brown paper
Drawing

A young male nude is seen standing, frontally, with his head tilted downward, and his right hand behind his head. His left arm hangs by his side, and his left hand makes a fist.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

All-over moire pattern, shading from light blue at the top to darker blue at the bottom. Small scrolling band at top edge.  Larger scroll, shell and lattice motif along bottom edge.
Knife with Porcelain Handle (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1750
hard paste porcelain, vitreous enamel, steel, gold
knife

Sabre-shaped blade, drop bolster. Ferrule engraved with animals and flowers; ferrule and bolster gilded. Porcelain handle tapering, round in section. Floral pattern in blue, red, green, yellow and purple on a white ground. Button cap on top of handle.
Various Patterns Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Various designs such as key fret (ko tsunagi), fylfot (sayagata), lattice weaves, stripes, clover vines, and undulated waves are each depicted within a geometric shape.
Frieze
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, applied mica flakes

Flitter frieze with bouquets of large roses, red and yellow, alternating with acanthus scrolls. All the motifs are outlined in gold mica flakes. Printed on a yellow ground.
Drawing
, late 19th century
Brush and gouache on cream paper, lined

Four bands on black ground; the second and fourth bands are identical and consist of Viking-like pattern in blue and green. First band consists of concentric rhomboids in various colors bordered by triangles in veined yellow and red. Fourth band consists of circles with vegetal patterns in light violet and violet alternating with curved floral buds in red and yellow on a veined yellow ground.
Frieze
George Halbert Wallpaper, Brooklyn, New York, 1905–1915
Machine-printed paper

A repetitive design of wild roses bunched together with twisting vines. Top and bottom have same stripe border. Printed in greens, tan, yellow and deep pink on a cream-colored field.
Design for the North Wall of the Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1818–19
Brush and gouache on white wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Elevation of a section of the north wall, showing two of the large wall-paintings, the one at left with a scene of pagodas and bamboo trees, terminated at the top by a coiled snake in low relief. A narrow panel at right, with an ornamental painting terminated above by a winged dragon in low relief.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Waves Breaking beneath High Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough sea in foreground, breaking against rocks in left foreground and cliff at left.
Pleated fan and case
Tiffany & Company, American, established 1853, 1880–1900
Silk leaf applied with silk, gold thread and sequins, carved and painted ivory or bone sticks, gilt metal bail

Pleated fan. Leaf of egg-shell mousseline de soie; obverse applied with seven medallions of same materials; embroidered with gold thread, and gilt and silver sequins outlining medallions and forming designs of wheat stalks, ribbons, bows, festoons and musical trophies; guards and sticks of pierced ivory or bone, carved and painted. Gilt metal bail.
Carceri Series, Plate IX
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Vertical rectangle. A gigantic circular opening, through which is seen a scaffolding and a bridge. A group of figures stand in the openings; others on steps below. Upper right, Calcografia number 357.
Sewing sampler
, late 19th century
cotton, wool, silk, linen Technique: embroidered on plain weave foundation and machine-made net

Five examples of darning and patches on different foundation cloths sewn together to make one sampler.
Bonad
, 1775–1825
Hand painted on paper

Contains two scenes: left scene contains Jesus or Christ with three men all standing, each with left hand on hip and raised right hand; right scene contains figure sleeping under tree with angel flying nearby, the name Elias is in the inscription above.  Narrow band of foreign characters across top.
Christmas Greeting
, ca. 1890
Chromolithograph on paper
Greeting Card

A winter sprite is seen standing in the snow manipulating two marionettes. Below: "A Merry Christmas and a Happy New Year".
Textile
, early 19th century
linen Technique: block printed with resist paste, indigo dyed, plain weave

Fragment of resist-printed linen with large, crowned birds with outstretched wings sit atop baskets of flowers at the top, with an overall design of serpentine lines with leaves and flowers below. Pattern in white on a dark blue ground; red dots throughout.
Allegorical Figure of "Africa"
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, 1722–1730
hard paste porcelain, vitreous enamel, gold
figure

Figure dressed in diapered tunic and knee-length trousers, feather skirt and headdress, with quiver on back; seated cross-legged on cushion, holding lamp in each hand.
Case
, ca. 1750
mahogany, silk, brass

Mahogany case for three implements, irregular rectangular shape. Lid attached to bottom with two brass hinges and small hooks. Top of lid carved with scrolled acanthus leaves, in the shape of three "cartouches". Inside of case covered with silk, S-shaped scroll on the inside of case to hold the knife in place.
Plate XXXIII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Plow pulled by two oxen hitched also to two ropes, a woodem frame at either end and a hand turned axel on the plow on which are three men. Houses, upper left, a town, upper left. Description in Latin on verso of 1949-152-230.
Sidewall
, 1880–90
Block-printed paper, embossed

Imitation leather. Embossed design of birds, fruit, flowers and leaves. Printed in metallic gold and metallic lime green.
Cup and saucer
, late 18th century
Hand painted and gilded porcelain

A Chinese export armorial tea bowl with matching saucer bearing crowned arms with birds, within a scrollwork cartouche. Gilding at rims.
Billy Martin – Farewell Sketch at Quebec
Arnold William Brunner, American, 1857–1925, 1881
Graphite on paper
Drawing

Profile of bearded man seated, facing right, by an open window, sketching; lower right, round table.
Fragment
, ca. 1800
cotton Technique: block printed (2 reds, 2 purples and black), yellow and blue are applied by hand, plain weave foundation

Horizontal and vertical border which coordinate with each other. Piece is made of several smaller fragments pasted together. Horizontal border of flowers and pastoral lozenges. Vertical border of draperies and classical scenes.
Noli me Tangere (Christ Appearing to Mary Magdalen), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509–11
Woodcut on off-white laid paper
Print

Mary Magdalen kneels at right. Christ appears before her, left, wearing a large hat and carrying a shovel over his left shoulder. Figures in background. Monogram of Dürer, lower left.
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small floral bouquets framed by scrolling acanthus leafs. Background fades top to bottom from cream, to green, to burgundy. Printed in shades of brown, pink, cream, and green.
Spoon Bowl with Threaded Screw Base
, early 17th century
steel
spoon bowl

1985-103-253-a: Small case for six implements, stamped leather wit...;     1985-103-253-b: Oval rat-tail spoon bowl with round neck and screw...;     1985-103-253-c: Plain straight handle with finial on top, can be s...;     1985-103-253-d: Waisted steel handle inlaid with mother-of-pearl, ...;     1985-103-253-e: Slightly curved upper edge, lower edge curving tow...;     1985-103-253-f: Waisted handle inlaid with mother-of-pearl, four r...;     1985-103-253-g: Three straight tines, rounded shoulders and plain ...
Funeral of James Cardinal Gibbons at Roman Catholic Cathedral, Baltimore, MD
Griffith Baily Coale, American, 1890–1950, 1921
Graphite on paper
Drawing

Sketch of the interior of the Roman Cahtolic Cathedral in Baltimore, MD, showing a funeral. The crossing with the cataflaque is surrounded by mourners and burning candles.
Fragments
, late 17th–early 18th century
silk Technique: 5-harness satin damask

Seven lengths of antique silk damask in olive green color; saymmetrical floral pattern of baroque character.
Textile
, ca. 1851
cotton Technique: printed by engraved roller on plain weave

Central medallion of the head of George Washington framed by flowers and garlands. Dark, murky colors typical of mid-nineteenth-century designs. Text inside medallion reads: "Washington and Independence" and "4th July 1776."
Quick Study of Waves on Cliffs
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Rough sketch of ocean with choppy waves breaking against cliffs at right.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

Alternating large circular medallions of scrolls with rose bouquet centers, foliate vining and floral swags and small medallions with scrolls and rose bouquets. Wavey vine-like lines between medallions. Cream ground. Printed in pinks, greens, white mica and gold mica. Printed in selvedge: "Sandard Papers" "3".
Ceiling paper
Howell and Brothers, 1835 – 1900, 1905–1915
Machine-printed paper, liquid mica

Subtle pattern of larger floral sprigs alternating with single flower motifs. Printed in white, ocher, and metallic gold on light tan ground.
Sampler
, 1779
silk embroidery on wool foundation Technique: embroidered in cross, satin, half cross, tent, back, and eyelet stitches on plain weave foundation

Central wreaths containing initials, middle one crowned with angels, parrot, crucifixion, Christ in the dessert, bowl of fruit.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a figure lying on a wheelbarrow or reclining chair with wheels.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Interlocking beaded circles with fleurons and floral wreaths. Printed in blues and white liquid mica on cream ground.
Frieze
, 1905–1915
Machine-printed paper

Series of foliate medallions alternating between large and small, from which "C" scrolls and acanthus leaves emerge, curving upwards. A series of  "C" scrolls runs across the botttom. Printed in white, brown, and shades of green on tan ground.
The War - Making Havelocks for the Volunteers, from Harper's Weekly, June 29, 1861, p. 401.
Winslow Homer, American, 1836–1910, June 29, 1861
Wood engraving in black ink on newsprint paper.
Print

Vertical view of an interior with a group of women sewing in the foreground.
"Modern Woodmen of America"
, patented 1904
Plated brass
Matchsafe

Rectangular, curved top and bottom, featuring raised decoration, inscribed in circular reserve "Modern Woodmen of America", the center of which displays a shield with a crossed malet and hatchet and monogram "MWA", over circular reserve inscribed "Pur Autre Vie", beneath features an assortment of objects including a scale, urn, and medallion inscribed "Brazen Coin", some foliage motifs interspersed throughout; reverse features male with hatchet raised, chopping a tree trunk, background of trees, cabin, and 2 men on wooden river raft. Lid hinged on side. Striker on bottom.
Knife Blade with Threaded Screw End for Attaching Handle
, ca. 1700–1800
steel
knife blade

1985-103-261-a: Steel blade, parallel sides with rounded ends. Pla...;     1985-103-261-b: Tapering brass handle, round in section, engraved ...;     1985-103-263-a: Fork has three long curved tines, rounded shoulder...;     1985-103-263-b: Tapering brass handle, round in section, engraved ...
Ledge near the Whirlpool, Niagara Falls
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite and white gouache on light brown wove paper
Drawing

Landscape sketch showing a view of a rocky ledge on the banks of the Niagara River near the Whirlpool and beyond the Falls. Highlighted in white gouache, which may represent ice or, more likely, dripping water, the ledge has a flat, platform-like top that bulges slightly. Behind this rocky outcropping and to its left are dark groups of loosely rendered trees.
Project for the Decoration of an Entablature with Alternative Suggestions
, ca. 1650
Black crayon, pen and ink, brush and watercolor on paper
Drawing

Design for a decorative entablature with a projecting bracket and tablet decorated with crossed cornucopia and a shell.
Design for the decoration of a panel
, 1760–1780
Brush and grey, black, blue, and rose watercolor on paper
Drawing

Two half-figures, smiliar to those in 1931-70-42, carry a medallion with a bush of a girl. Rectilinear framing line surrounds.
Figural Studies
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1625–1650
Red chalk, pen and ink, brush and watercolor on paper
Drawing

In the upper left corner are two seated men wearing hats, shown in profile. Below, at left, a man seated on a block, seen from behind. At right, a man shown from the front, standing behind a winch.
Design for a Wrought Iron Balcony
, ca. 1750
Pencil, pen, ink, brush, and Chinese black on paper
Drawing

Central section: an escutcheon is flanked by scrolls. left section suggests a triangular form over a shield form, the triangle intended to have a symmetrical counterpart in the right section. Right section: Shield form, upon a base. Scales at the bottom and at right. Includes alternative suggestions for the lateral sections.
View of the Sea from Cliffs
Winslow Homer, American, 1836–1910, 1890–99
Graphite, carbon tracing on white wove paper
Drawing

View of sea from top of cliffs, rocks in foreground.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels featuring arabesque motifs including scrolling acanthus leaves (rinceaux), flowers, festoons of flowers, leafy branches, flaming torch, and fleurons. The plate is numbered.
Design for a Fountain
, 1750–1800
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

A statue of Diana within a decorated niche. Water pours from a mask at the columnar support upon boulders. At bottom, a plan.
Ant's Nest on a Tree Trunk, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on tan wove paper
Drawing

Unfinished botanical sketch showing a view of an ant's nest on the trunk of a palm tree, out of which two plants grow--possibly a type of night-blooming cereus. Nest and plants are positioned midway up the trunk, and are rendered with some level of detail while the trunk itself remains an outline.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating flowers, festoons of flowers and leaves, bucket, rake, fireworks, watering jug, scythe, potted flowers and plants, horn, basket of fruit, shovel, and a potted succulent. The plate is numbered.
Purse Frame
, ca. 1885
silver
purse frame

Hinged purse frame decorated with serpentine birds and floral ornament. Bail ring at center and button at top.
Man
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a male figure wearing a hat crossed out with circular lines.
Plate V, vol. II of "Le Antichità Romane"
Giovanni Battista Piranesi, Italian, 1720–1778, 1756
Etching on paper
Print

Fragment of a stone wall, bearing an inscription.