biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Mehitable Russell, 18th century
silk embroidery on linen foundation Technique: embroidered in cross, satin and eyelet stitches on plain weave foundation

Alphabet and verse: 
? will I ? you of Christ the King and of the church the quire the song of song to them belongs watch ?? flames ?  Another verse: This shews the way of life's Decay
"Old City Gates, St. Augustine, Fla."
Watson Company, ca. 1910
Brass
Matchsafe

Oblong, right side rounded, left side formed to resemble top of alligator's head, upper edge resembling alligator's back, featuring raised decoration of architectural monument, inscribed "Old City Gates, St. Augustine, Fla." beneath, surrounded by raised form of alligator, whose tail wraps down and around curved right side of box. Reverse features raised decoration of monument, inscribed "Old Fort Marion, St. Augustine, Fla." beneath. Top of alligator's head flips open at jaw line as box lid. Raised scales on alligator's back likely intended as striker.
Border
, 1880–90
Machine-printed

On grey-green textured ground, vertical bands of stylized flowers in green and white alternating with narrow double bands of small flowers divided by short vertical lines. Aesthetic-style design.
Design for a lamp
, ca. 1855
pencil on tracing paper
Drawing

The body of the lamp is in the form of a pineapple on a high base, surmounted above by a glass globe.
Plate 3, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants. At left, four square gems surround a central oval. Above, a pair of putti face inward; below, a pair of putti face outward, holding drop gems. At right, four oval gems surround a central square. Above, two putti. Below, three drop pearls, the center is pear-shaped.
Ellis Gamble's Book Plate
Samuel Ireland, English, ca. 1744–1800, 1786
Etching on paper
Print

A small coat-of-arms surrounded by a head of Mercury, caryatids, basket of flowers and a head in a cartouche. Below, a banderole with inscription.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Two groups of blue and white flowers, two grey ferns on black background.
Ocean Inlet with Distant Mountains
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Pool of water surrounded by rocks, distant cliffs and hills on either side in middle-ground, large mountains in background.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, textured

Floral medallions with rose swags and foliate scrolls. Background of lace-like bands. Beige ground. Printed in tans, pinks, greens, gold mica, and silver mica. 
Printed in selvedge: "Standard Papers 2"
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Printed floral motifs imitating a textile weave. Clusters of pink flowers with green foliage forming a near square. There is a pinwheel in the center.  This motif alternates with a smaller medallion printed in liquid mica. Printed on lightly grounded tan paper.
Fragment
, 18th century
silk Technique: 5-harness satin damask

Large-scale symmetrical floral design with flowering and fruiting twigs enclosing central bouquet. Striped green and white selvages.
Sidewall - fragment
, 1868–90
Machine-printed

Small vining floral pattern, printed in dep red and tans, on possibly textured gold ground.
Medal
Charles Cushing Wright, ca. 1850

medal commemorating Daniel Webster
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper

Repeating large and small foliate medallions printed in green, mauve, brown, and metallic gold on a green pinstripe background.
Study for woman
Elihu Vedder, American, 1836 – 1923, ca. 1885
Pastel crayon on gray-green paper
Drawing

Head and shoulders of a young female figure. Her head is tilted slightly to the left, and her gaze is downward.
Fragment
, late 18th century
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Sample of "velours miniatures" has a printed pattern in orange with pink woven stripes.
Border
, 1835–55
Block-printed and flocked on machine-made paper with polished ground

Passementerie or imitation fancy gimp border. Threads, in two shades of deep red, are gathered together at regular intervals with blue beads. Narrow bands of blue stitching near top and bottom edges. Printed in red flock and blue on white satin ground. 

H#92
Fork
, ca. 1720–40
Brass, steel

1985-103-277-a/m: The blade with lower edge tapering towards the poi...;     1985-103-277-a: Flat rectangular case for twelve implements. Lid d...;     1985-103-277-b: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-c: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-d: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-e: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-f: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-g: Two long straight tines, rounded shoulders, spiral...;     1985-103-277-h: The blade with lower edge tapering towards the poi...;     1985-103-277-i: The blade with lower edge tapering towards the poi...;     1985-103-277-j: The blade with lower edge tapering towards the poi...;     1985-103-277-k: The blade with lower edge tapering towards the poi...;     1985-103-277-l: brass. The blade with lower edge tapering towards ...;     1985-103-277-m: The blade with lower edge tapering towards the poi...;     1985-103-279-a: Rectangular wooden case, covered with shark skin, ...;     1985-103-279-b: Sabre-shaped blade with plain bolster. Flat pistol...;     1985-103-279-c: Knife has straight upper edge, lower edge tapering...;     1985-103-279-d: Knife has straight upper edge, lower edge tapering...;     1985-103-279-e: Knife has straight upper edge, lower edge tapering...;     1985-103-279-f: Knife has straight upper edge, lower edge tapering...;     1985-103-279-g: Knife has straight upper edge, lower edge tapering...;     1985-103-279-h: Two tines fork with  V-shaped join, baluster-shape...;     1985-103-279-i: Knife has straight upper edge, lower edge tapering...;     1985-103-279-j: Knife has straight upper edge, lower edge tapering...;     1985-103-279-k: Knife has straight upper edge, lower edge tapering...;     1985-103-279-l: Knife has straight upper edge, lower edge tapering...;     1985-103-279-m: Knife has straight upper edge, lower edge tapering...
Sur La Jetée du Houre
Norbert Goeneutte, French, 1854 - 1894, 1884
Etching on paper
Print

A young lady, wearing a feather-trimmed hat, seen frontally, leaning against a jetty railing, with ships moored in the distance.
Fragment
, 17th century
silk, metallic thread Technique: cut and uncut voided supplementary warp pile in a plain weave foundation with supplementary weft (ciselé voided velvet)

Fragment of a large-scale patterned velvet in red cut and uncut velvet on a gold-yellow ground: cornucopia with bouquet of flowers combined with what seems to be an ogee scroll passing through a crown to enclose a large floral motif.
Sidewall
, 1860–90
Machine-printed

Aesthetic-style design; floral and foliage pattern printed in ocher, deep red, yellow, blue and cream color on light olive-green ground. Overprinted with fine black stripes.
Purse
, early 19th century
silk, metal Technique: crochet

Small purse of crocheted silk and gold thread in green, white, red and faded yellow in pattern of flower clusters. Green saw tooth border at top and bottom. Set into a gold frame at top with catch to close. Fine gold chain for carrying.
Study of a woman
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a standing female figure reading.
Design for a Teacup
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Teacup design with lid that is unfinished; cup is decorated with rim of filigree design and below with pink and blue flowers with red berries; pointed handle.
Study of a man
William Stanley Haseltine, American, 1835–1900, ca. 1850
Graphite on paper
Drawing

Sketch of a male figure fishing next to a tree.
Cup
Minton Ceramics Manufactory, English, established 1796, early 19th century
porcelain (probably bone china), vitreous enamel, gold
cup

Cup with loop handle. Black transfer print showing sea shells. Floral gilding on body and gilt rim.
Selendang (shoulder cloth)
, 19th century
silk Technique: tied resist, stitched resist (tritik), and printed with metallic pigments(prada)

Red and green rectangular panel of silk. White rectangular border around the green separates it from the surrounding red. The gold printing (prada technique) makes use of the "tumpal" motif (row of isosceles triangles) and other geometric and floral shapes.
sheath
, ca. 1680
silver, enamel

1985-103-63-a: Tapered sheath, light purple enamel with multi-col...;     1985-103-63-b: Blade straight-sided, the upper edge tapering towa...;     1985-103-63-c: Fork with two-pointed tines. Handle enameled, oval...
Design for an urn on a stand
John Nash, 1752 – 1835, 1815 or later
Graphite on white laid paper
Drawing

Elevation of an urn on a stand, ruled border line in black gouache recto and verso.
Head of Athena (from a cast)
S. D. Pratt, ca. 1895
Charcoal on paper
Drawing

Vertical rectangle. Head of Athena (from cast) seen frontally. She wears a helment.
Design for a Milk Pitcher
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a tall milk pitcher with partial handle; spout and lid in graphite. Body decorated with vertical alternating stripes; one with gold roses on vines against light yellow ground and the other with pink roses on white ground.
Lafayette Theater, New York
James Eddy, 1827
Engraving with etching in black ink on paper
Print

Vertical rectangle. Elevation of facade of the building, with a portico in two storeys: the lower storey rusticated, three doorways; the upper with Ionic pilasters between openings; surmounted by a pediment. Printed below: "Printed at William Hooker's Nautical Printing Office.../LAFAYETTE THEATRE,/ LAURENS ST. NEAR CANAL ST. N. YORK..."
Mount Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, July 1857
Oil and graphite on light brown wove paper
Drawing

Unfinished landscape sketch showing a view of the volcano known as Chimborazo in Ecuador. Dominating the composition at center, the mountain's rugged peak is permanently snow-capped and generally rounded in shape, with a sharp ridge with shaded declivities at right. It's lower slopes are snowless. Sky above is a muted shade of blue. The foreground and middle distance are only outlined in graphite, and suggest that we are viewing Chimborazo from a mountain pass. A large rock appears to jut out of the ground at center left.
Putti Playing with Instruments of Battle
Michael Hartwagner, German, d. 1775, 18th century
Etching and engraving on off-white laid paper
Print

Scene of putti playing with a cannon, sword, drum, helmet, and flags, set within a landscape. The plate is signed and numbered.
Lanterns
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Five drawings refer to the lantern with or without the bracket, two to the latter.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Yellow trimming fragment in a design of lozenges in cut velvet separated by large X-shaped motifs. Borders in cut and uncut velvet.
Elevation of a Fountain
, 1775–1800
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Two mermen embracing the central spigot of a fountain sit upon a basin supported by two intertwining dolphins. Dolphins on each side in a broad basin below.
Men on horseback
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Sketch of two male figures on horseback with a crowd in the distance.
Fragment
, 17th century
silk Technique: velvet

Mirror image pattern on central stripes of geometrical patterning. Above and below stripes are stylized plant forms. In off-white.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Usual design scheme with a disk above and three drops below. In the center is a basket with flower stems and a central blossom. Each of the three drops with a different style suggestion. Bevelled corners.
Man and Woman Working by a River
Elliott Daingerfield, American, 1859–1932, 1884
Pen and black ink, graphite on paper
Drawing

A man and a woman working by a river.  The man wears a hat and is standing near a basket; he is smoking, and holds a hoe.  The woman bends over, collecting something on the ground.
Trimming
, 17th century
silk Technique: supplementary warp pile (velvet)

Design of a curving stem with leaves and flowers between rope borders. In yellow and red velvet on a white ground.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with stucco molding. Each edge has a stucco oval with an ornamental clasp; a trompe l'oeil cloud pierces the oval molding to the ceiling. At the corners are cartouches with flags, tridents, and spears behind. The plate is signed and numbered.
Vase After the Antique
Aubert Henri Joseph A. Parent, French, 1753–1835, 1789-1792
Etching and engraving on paper
Print

Large vase with two snake handles that terminate at lion head pulls. The vase has draped around its neck a chain with a medallion. On the medallion is a man with a toga and a stick with a snake winding around it; at left of the man are the initials AESCV. The vase is decorated with flowers and acanthus leaf ornamentation. The vase is elevated on a tall, draped column, with grotesque ornamentation at the base. To the left of the column is a smaller fountain designed like an antique tomb. To the right of the column is a small sepulcher with SPQT carved on it; the sepulcher is placed on a fragment (the capital) of a Corinthian column. Although the printed descriptions provide locations for Parent's study of antiquities, the compositional arrangement is imagined. The plate is signed, numbered, and dated.
Judith with the Head of Holofernes
Alphonse Alexandre Leroy, French, 1821 - after 1880, 19th century
Aquatint on paper
Print

Two female figures, the figure of Judith at center viewed in three-quarter profile from back, facing the left. She wears a long flowing robe, a curled hairstyle, a long flowing scarf from her hair, and sandals. Her head is cast down and her eyes mostly closed. She holds a large knife or sword in her right hand and the severed head of Holofernes in her left, which she is placing into a bag with a tassel at the bottom. His face, hair, and beard are visible. Holding the bag open is another female figure viewed from the front, who receives the head and looks at Judith; the two women are possibly in conversation.
Study of a Young Woman
Mortimer L. Menpes, Australian, active London, England, 1860 – after 1915, 1880
Etching on light brown paper
Print

A woman, possibly pregnant, leans against a wall, facing light, her head turned to the front.  She holds a bottle in her hands.
Winter, Lunette for Ceiling of Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Winged putto bending and holding hammer and torch in demi lune.
Sampler
, 1791
silk embroidery, linen foundation

Initialed "I. S."  In wreaths, "O U D 10" "YAAR" and "ANNO 1791."  Vase with flowers, baskets of flowers, trees and animals with floral border.
Designs for Rocaille Ornament
J. Matthaeus Schmahl, German, active 18th century, ca. 1719 – 1768
Etching on off-white laid paper
Print

Rocaille ornament designs of rinceaux, scrolls, and branches and roots for use in molding and frames. At lower left is a vignette of a rocaille scroll on the ground sprouting leaves. The plate is signed and numbered.
Old Woman and a Boy with Candles
Peter Paul Rubens, Flemish, 1577 - 1640, After 1615
Etching on paper
Print

Half-figures of a woman and a boy by candlelight. The woman, turned to right, looking down on a burning candle in her right hand. A boy, left, takes light for his candle from hers. Inscribed, lower left: "Peter Paul Rubens inuenit"; center: Quis vetot apposite, lumen de lumine tolli./Mille licet capiant, deperit inde nihil."
Fountain Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Depiction of a fountain in a landscape. The fountain is in the form of a pedestal fronted with grotesque cartouche and topped by a sculpted nude woman holding a drape and surrounded by putti. The plate is signed and numbered.
Sampler
, December 7, 1832
silk embroidery, wool foundation Technique: tent and cross stitches on plain weave

Alphabets, numerals, wreaths with initials, birds, animals, and three scenes — the Garden of Eden, Crucifixion, and a landscape of a woman with animals.
Nihonbashi, Clearing Weather after Show (Nihon-bashi, yuki-bare) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

This is the first print because of all the iconic locations depicted in Edo. A clear view of Mount Fuji in the top left corner overlooks the wintery scene of Edo. Edo Castle is located on the right side, and the Nihonbashi bridge divides the print in half. Below, the crowded bridge shows boats filled with people. The lower half of the print shows a scene of a hustling ally from the great fish market. This image shows the transition of the once fish town into the capital of the nation.
Pleated fan
, ca. 1785
Silk leaf painted with gouache and embroidered with sequins and metallic thread; ivory sticks with wire screen and glass

Pleated fan with painted silk leaf. Obverse shows medallions containing putti with flower sprays in between. Center medallion has a frame of gold metallic sequins. The flowers have red spangles and gold sequins. Reverse has the same design drawn in red on unpainted silk. Stick are carved in an openwork design (à jour) with gilding, silver and inserts of gilded wire screen. Guards carry ovals medallions containing a blacksmith and spinner that are appliqued to under parts in relief and covered with glass.
Two Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Second plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including roundels with profile portraits and mythological figures, trophies of musical instruments, horns, guitars, lyre, tambourines, trumpet, violin, triangles, mandolin, galoubet pipe, musical scores, putti, masks, terminal figures, wings, flowers, festoons of flowers and leaves, fleurons, acanthus leaves, rinceaux, birds, ribbons, tassels, and arrows. The plate is numbered.
Sunrays over the Mountains of Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of sunbeams cascading over mountains in Jamaica. Two shaded prominences are visible in foreground at left, while taller mountains are visible in the distance and at right. Above, the sun shines through a partly cloudy sky, resulting in dramatic crepuscular rays, rendered in white gouache, that fall from the sky.
Four Chairs
Giuseppe Barberi, Italian, 1746–1809, 1775–80
Graphite, pen and brown ink, brush and brown wash, on off-white laid paper, lined
Drawing

Above at left: an armchair with a plain curved back. At center: a big armchair, a variation of 1901-39-432 with a different frame of the back, circular above and with scrolls at the sides. Below, at left: part of a foreleg and arm support. Below, at right: sketches of two chairs with straight arms and curved angular backs.
Figures in a crowd
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Three sketches of figures in a crowd; Center, a male figure standing wearing a top hat.  A second male figure is indicated at the left with brief outline of hat;  Above, lowered head of another figure.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut pile in a plain weave foundation (velvet)

Stylized leaf forms with diamond shaped compartments. Design from by cut and uncut pile of the same red color.
Title Page
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 left plate is a title page, with the text inscribed within a fountain, which is surrounded by grotesque figures with wings, goat legs, and lion tails. The plate at right offers designs for arch ornaments featuring mascarons, flowers, garlands, and scrolls.  Both plates are signed and numbered.
Altar of Colored Marbles,
Luigi Righetti, Italian, 1780 - 1819, ca. 1820
Pen and gray ink, watercolor, over graphite on white laid paper
Drawing

Horizontal composition of a colored marble altar with four steps beneath. The front of the mensa is decorated in the middle by a cross framed with an oval garland. The lateral panels feature the coat-of-arms of a prelate with a lion rampant. The tabernacle is in the center of the altar bank with a circular pediment above and three burning candles on each side. The candles are flanked by green angel statues with green cornucopiae with red flames. Clouds are beneath the angels feet.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies / sketches on a single plate. A young woman in the foreground holding a basket in her lap, an old bearded man, a youth wearing a hat in profile, a man in the background on a bench, three other male figures, one seated. The plate is signed and numbered.
Zinnias
Frederic Edwin Church, American, 1826–1900, 1860–70
Brush and oil, graphite on paperboard
Drawing

Botanical sketch showing a view of three yellow and red zinnia flowers. At center, the blossoms of two flowers are positioned beside one another while leaves are loosely rendered behind them. A less developed zinnia or possibly another kind of flower is visible at upper right. It has six yellow petals with red edges. Background is a uniform greenish gray tone.
Grille, probably from the series "Héré Plans et Elevations de la Place Royale De Nancy... 1753 A Paris Chéz J.C. François
Jean Lamour, French, 1698–1771, 1753
Etching on paper
Print

Left portion of a round-headed gateway, flanked by two corinthian pilasters.
Huilier
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a metal oil, and probably vinegar, dispenser. The two cruets are rendered with high gloss and have thinned necks and open mouths. They are placed within a richly ornamented stand with feet. Between the two cruets, an obelisk ornamented with a guilloche of laurel wreaths stands atop the stand on orbs. The stand itself features ornamentation of bead course, scrolling acanthus leaves, fluting with decorated channels, and bound leaves. The center of the base has a mascaron with rays behind in within a rondel, surrounded by two horns of plenty with flowers. The plate is signed but not numbered.
Woman
Robert Frederick Blum, American, 1857–1903, 1886–1887
Pastel crayon on wove paper
Drawing

Recto: Two sketches of a female figure; Verso: Sketch of a street scene.
Vestibule en Perspective
Nikolaus Gottfried Stuber, German, 1688 – 1749, 1769
Etching and engraving on paper
Print

A detailed view of a staircase and vestibule featuring balustrades, pilasters, arches, cartouches, vases, sphynx, a statue, festoons, and sculpted paneling. The plate is titled, signed, dated, and numbered.