biglam/cooper-hewitt-alt-text huggingface dataset:
Six capitals of columns, one of a pillar, with alternative suggestions
Filippo Marchionni, Italian, 1732–1805, 1780–1800
Pen and black ink, brush and gray watercolor, graphite on off-white laid paper
Drawing

Three on each side in three rows: 1) in the center of the abacus the head of a wolf with wings of a bat. 2) At left, a volute, with a leaf mask; at right, half figure of a bird. In the center of the cornice a frog between leaves. At left a volute with a fantastic snake attacking the frog. At right, the half figure of a bird with a girl's head. Row of upright leaves. 3) the pillar capital; in the center of the abacus is a bird's head with wings supporting drapery festoons the opposite ends of which are supported at left by a winged dragon with a goat's head and at right by an owl. The pillar is broken. 4) instead of the volutes at left, a rinceau with a lion's head, and at right with a fish with a dog's head. Both support a festoon hanging in front of flutes. 1-4: dark olive. 4) with half figures of owls at the corners and a woman's mask in the center. 6) with a lion's mask in the center of the abacus, a ram's head at left, a girl's head at right. In the center a dog's head between crossed palm branches. 5 and 6 are brown, last two are in brown wash.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, 1775–86
Etching on laid paper
Print

An oval cartouche design featuring a frame with a repeating wave pattern, surrounded by spears, canon balls, flags, a sword, canon, tree stump and foliage. The plate is numbered and lettered.
Design for a Hot Water Spout
, late 18th century
Pen and ink, brush and sepia wash, gray, yellow watercolor, graphite on light brown paper
Drawing

Vertical rectangle. Design for a hot water spout, attached at a wall, intended to be executed in yellow and white metals.The bowl is decorated with a frieze with festoons, and is connected with the supporting console by a female head with a drapery. Above is a pediment with the dove of the Holy Spirit in clouds, with a glory of rays and four cherubim.
La Maison de Mont Loüis au R. Pere de la Chaise, prés de Ménilmontant (Upper Plate)
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Two plates printed one above the other on a single sheet. The upper plate is a bird's-eye view of a country house with planted trees framed within a garden wall. Landscape and townscape in the background. Figures in the foreground with horses ploughing a field. The lower plate is a detailed view of a garden with a circular fountain in the center and a trellis/lattice wall and central arch portico beyond, figures on the paths. The plates are titled.
Bag
, early 19th century
glass beads Technique: beaded knitting

Brown bag encircled by a white band with cornucopias of blue flowers.
Bird Hunt with Falcons
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto: In the foreground of a landscape, turned away from the viewer, men use falcons to hunt. The birds fly upwards into the sky at right.  
Verso: Panel in the form of a half lunette, filled with scrolling ornament. A rearing goat appears in the center, and birds and rabbits surround.
Ceiling Design
Fedele Fischetti, Italian, 1734 - 1789, ca. 1760–89
Graphite on off-white laid paper
Drawing

Vertically oriented ceiling design; allegory of painting with inscribed color key.
Study of Two Rams
Samuel Colman, American, 1832–1920, ca. 1850
Graphite on paper
Drawing

Horizontal rectangle.  One is shown crouching and turned toward right, in the foreground.  The other stands behind him, gazing at the spectator.
Study for "The Sources of Wealth," Union Trust Company Building, Cleveland, OH
Kenyon Cox, American, 1856–1919, 1902
Graphite on paper
Drawing

A  young male figure standing with arms extended. The paper is squared for transferring the image.
Excerpt from "How I Discovered the North Pole" from The Outlook (Vol. 51, No. 24, 15 June, 1895, p. 1024)
Frederick Stuart Church, American, 1842–1924, 1895
Printed in black ink on paper
Ephemera

First page of a short story from The Outlook. At the top, a line of seal heads. In the center, an illustration of a seal playing the manjo for a mermaid, surrounded by other animals. At the bottom right, an illustration of a bear cradling a seal while other seals lie in front of them.
Design for an Embroidered or Woven Horizontal Border
, 1805–1815
Brush and light blue, white gouache on glazed tracing paper
Drawing

Plants with fan-like blossoms stand over two undulating strips.
Tree with Many Boughs, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white paper
Drawing

Botanical sketch of a tree with few leaves in or near Catskill, New York, that inclines to the left as its many boughs bifurcate into a network of smaller branches.
Title Page: Design for a Fantastical Landscape
Maurice Jacques, French, ca. 1712–1784, 1756
Etching and engraving on laid paper
Print

Title page and design for a fantastical landscape from a suite of six. A landscape with trees in the background and a rocaille ornamented fountain plinth in the foreground, topped with a vase of flowers with garlands of flowers and sprigs of flowers over the fountain. The fountain features shell motifs. The water flows into a water feature to the right, with rocks and foliage. The plate is signed, titled, and numbered.
Two silver plates
A. Spinazzi, Italian, 1725–50
Graphite, pen, ink, brush, gray water color
Drawing

Round plates, one side with a curved moulded rim.  Written in ink, in the upper left corner: "Io Angelo Spirazzi mi obligo/ di fare li tondini di questa stessa misura."  Other side:  with a round molded rim.  The section is indicated.  Written in ink, in the left edge, vertically:  "onci 19 l'uno."
Drawing for the Rear of the Third Carriage of the Prince of Liechtenstein
Antonio Creccolini, Italian, 1671 – ca. 1725, 1691–1694
Pen and brown ink, brush + brown wash, over black chalk Support: beige laid paper (see notes below)
Drawing

Design for the back of a coach. Draped female figure of "Truth" holding the sun in center of a rinceaux with cupids in among the arabesques.
A Landscape
, early 17th century
Charcoal, pen and ink on paper
Drawing

Incomplete view of a town with conical roofs situated in a valley bordered by mountains. In the foreground, a tree and a bridge crossing a brook.
Pair of Urns
, ca. 1795
porcelain, vitreous enamel, gold
urns

Semi-ovoid, with domed top, raised strap handles and square base. Geometric design on body with square reserve on front, containing flowers. Floral bands about foot, foot bolted to body, top and cover. Gilding throughout.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with a design of pink flowers and brown leaves, scrolls and irregular black forms on a white ground.
Jacob's Vision
Francesco Bartolozzi, Italian, active England, 1727–1815, 1797
Line engraving in brown ink on white paper
Print

Jacob lies in foreground, with his head against a rock, his club at his side. Just beyond, mounting to the left, stairs are enveloped in clouds, with five angels on them indicicating the way up.
Design for panel with carved trophies
Gilles Paul Cauvet, French, 1731–1788, 1750–75
Pen and Chinese ink, black chalk, brush and watercolor
Drawing

A crowned eagle seated upon a snake and a sphere between arms at the bottom.
Fragment
, 14th century
silk, metallic Technique: 4&1 satin patterned with areas of plain weave and brocaded with supplementary weft

Dark blue fabric patterned with vines and brocaded with gold in a design of the leg of a strong bird.
Sketches of Plants and Tree Ferns near Jorje, Ecuador
Frederic Edwin Church, American, 1826–1900, July 23, 1857
Graphite on tan wove paper
Drawing

Botanical sketches of tree ferns, a broad-leafed plant, and another smaller plant in Ecuador. At right, the plant's enormous leaves are rendered in some detail, while, at left, two views of tree ferns are visible. Other foliage visible at lower center.
Design for Two Freizes
Felice Giani, Italian, 1758–1823, ca. 1800
Graphite, pen and ink on paper
Drawing

Page divided horizontally into two friezes featuring groups of putti.
Paper Doll Costume in Blue with White Trim and Garlands
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Sapphire blue dress with white trim at the neckline, and white garlands, accompanied by pink roses on the full skirt. Both back and front of this paper doll outfit are rendered.
Lit à la Chinoise
Pierre Ranson, French, 1736–1786, 1779-90
Etching and engraving on laid paper
Print

Design for a bed (view from the side) with a crown canopy (baldachin) projecting from the wall and held by bed posts along the side of the bed. The headboard and footboard are the same height and decorated with a diaper floral pattern, fleurons, and textiles, with acorn and feather finials. The bed linen is striped. The canopy is topped with feather finials, and decorated with scrolling leaves (rinceaux), flowers, bells, and beads. The bed curtains are tied back. The plate is titled, numbered, and signed.
Portrait of Ferdinand Patritus of Naples at the Age of Sixty
Pierre Jacques Gaultier, French, active ca. 1740 - 1744, 1744
Etching on paper
Print

Portrait of Ferdinand Patritus of Naples (1423-1494) at the age of sixty.
Embroidery sample
, 1790–1800
silk, paper Technique: embroidered on a compound foundation

Multicolored silk embroidery in a floral design on a dark blue ribbed ground.
Sidewall
, 1880–90
Machine-printed and flocked on paper

Vertical rectangle. In and out pattern of scrolling and crossing stems with five-petalled flowers at the intersections. Outlined in dark green against a light olive green background with a mesh of gold lines and horizontal striations. Mounted on white paper backed with cloth. The flocking involves different colors of flock, printed on top of each other.
Porcelain Buttons
, ca. 1860
porcelain
buttons

Four matching calico buttons sewn on a card, affixed to large button card 6

On card 6
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Vase intended as a perfume burner; in the image smoke escapes from holes at the top near the finial. The shape of the vase is globular and is supported by three bare-breasted female monopods with lion feet, holding leafy swags. The belly of the vase is decorated with rosettes within a guilloche. The vase is elevated on a stepped platform that extends to the edge of the image. The plate is signed but not numbered.
Men
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of two male figures in police uniform.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs. The chimneypiece on the left features figural candelabra on the mantel, cartouches, trophies, a portrait medallion, sculpted horn-blowing angels, and a crown. The chimneypiece on the right features a clock on the mantel, a carved mantel frame, and a mascaron at the top. Each chimneypiece offers decorative variations on either side of the frame. The plate is signed twice and lettered "I."
Designs for an Iron Gate
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a tall iron gate, decorated with foliage, grape vines, scrolling acanthus leaves, rosettes, vases with bouquets, a rondel with a representation of a dead sheep, and a tall cross at top. The plate is signed.
Male Head From a Plaster Cast
Daniel Huntington, American, 1816–1906, 1840
Black and white chalk, graphite on light brown wove paper
Drawing

Head and neck of a man facing frontally. Source of light from upper left.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Man sitting on a chair facing frontally, looking down. His left hand on his knee. He wears glasses.
Two Vertical Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, 1765
Etching on laid paper
Print

Sixth plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including leaves, grasses, flowers, festoons of flowers and leaves, vases, basket of flowers, female figures, herms, putto, birds, roundels, incense burner, mask, rosettes, fleurons, rinceaux, scrolling foliage, fluting, Greek-key, repeating patterns with beads, lamb's tongue, and wave motifs. The plate is numbered.
The Temple of Serapis
Jean-Baptiste Richard de Saint Non, French, 1727 – 1791, ca. 1762
Etching on paper
Print

The ruins of an ancient temple are seen through an arch, framed by [???]. Walls, stairway, left. Title in margin, below: "Vue de l'Entrée du Temple de Serapis près de Naples." At lower left: Hubert del.; at lower riht: Saint [???] Sc. 1762 [?].
Title Page
Jean-Baptiste Pillement, French, 1728–1808, 1758–89
Etching on laid paper
Print

Title page from a series of six prints depicting chinoiserie figures within rococo-style cartouches, personifying the five senses. The title is lettered within a large cartouche, decorated with acanthus leaves, flowers, sprigs, grapes, a bell and a sword. The plate is signed.
Designs for or Sketches of a Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Designs for or Sketches of a Mausoleum.
Niagara Falls from the American Side, New York
Frederic Edwin Church, American, 1826–1900, 1856
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of Niagara Falls from the American Side in New York. At left, the cascading waters of the Falls are loosely rendered as they plummet into the basin below, where they kick up a billowing plume of mist. The rim of Horseshoe Falls extends across the background at upper center, with clouds loosely rendered above.
Fragment
, 4th–5th century
Mediun: Warp; S-spun linen. Weft; S-spun linen, wool. Technique: Slit tapestry woven with supplementary weft wrapping,

Circular medallion showing bird with outspread wings.
Landscape view between Naples and Salerno
Anton Sminck Pitloo, Dutch, active in Italy, 1791 - 1837, 1820–30
Pencil with white chalk highlight on brown paper
Drawing

Rocky landscape with trees and hills.  Bridge in left foreground crossing stream.  Two crude houses in center built into cliff.  Three figures in front of left house.  Donkey standing at far right.
Stage Design: Palace architecture
Giuseppe Barberi, Italian, 1746–1809, 1750–1800
Graphite, pen and bistre, brush and sepia wash on paper
Drawing

Horizontal rectangle showing loose sketch of exterior palace architecture.
Encoignure [et] Petit Vide-Poche
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two small drawers. On the left: a three-legged dresser for a corner; on the right: a dresser with a stowage drawer. The pieces of furniture are decorated with ornament motifs including floral relief, egg and dart, fluting, acanthus leaves, rosettes, and lamb tongue. The plate is not signed.
Skating at Boston
Winslow Homer, American, 1836–1910, March 12, 1859
Wood engraving in black ink on paper
Print

A group of figures skating on the ice. At left, a woman kneels to lace her skate. In the center, a boy has fallen. Beside him, a woman is being pushed on a sled.
Ceiling medallion
, 1875–1906
Block-printed on paper

Ceiling medallion: central eight-pointed star surrounded by large red roses and foliage, set within a square framework. Printed on tan ground.
Border
, ca. 1810–30
Block-printed on handmade paper

Wide band of bright flowers over grisaille leaves, grisaille guilloche along bottom, on gray ground.
Drawing
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Gouache and graphite on pale blue laid paper

Horizontal rectangle or four vignettes.  Upper left, a pink fountain; upper right, an urn containing a flowering tree; lower left, yellow house; lower right, a pink garden wall and two ducks in a pond.
Basket and tray
, late 18th century
Glazed earthenware

This basket and tray are glazed earthenware but are made in the style of wicker ware. The ten-sided tray is circular with scalloped edges. The sides have varying loose cross hatched pattern while the center bottom consists of a tight cross hatched pattern with a row of green leaves around the border of the bottom piece. There are also leaves repeated, one in between each section of the ten sides.
The matching basket has the same construction, including the cross-hatched wicker style. However, the basket sits upon an attached foot and has the leaf green color around the top edge of the basket and handle.
Unterschiedlich Augspurgische Goldschmidts Arbeit, "Aestas" (Summer), Plate 2
Abraham Drentwet, German, 1647 – 1727, 1721–40
Engraving on white laid paper
Print

A large frame on a wall consisting of scrolls, putti, a lion, a mascaron, fruit and flower festoons and a lobster. Inside the frame is a large tureen with lion's feet and a woman's face at center. Below the frame, there are smaller tureens at left and right; at center a fountain in the shape of an urn with two putti playing.
Textile
, ca. 1785
cotton Technique: copperplate printed

Copperplate print in brown on white. Statue of Shakespeare, on base of which is a medallion of Garrick (1717-1779). A flying muse places crown of stars on Shakespeare's head. Putti carry medallion portraits of Mrs. Siddons and other actors. Weeping putto at base of status holds books inscribed with names of Shakespeare's tragedies. Another putto holds a floral garland in one hand while waving a ribbon inscribed: "The Nymph Immortality Crowning a Statue of Shakespeare with Stars." All elements connected by meandering garlands.
Sidewall
Lewis Chase Wall Paper Company, Bristol, Pennsylvania, USA, 1905–1915
Machine-printed paper

Large foliate medallion bands with stacked squares (or dentils), beading, and bead-and-reel. This alternates with bands of stylized blue flowers. Background of balck dots. Printed in greens, reds, pinks, blue, tan, and black. Light grey ground. 
Printed in selvedge: "Chase Print 415"
fork
, 18th–19th century
silver

Fork has pistol shaped handle.
Unfinished Beach Contours
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Outline of hill at left with ocean contours at right and in distance.
Chagford
Arnold William Brunner, American, 1857–1925, 1870–80
Graphite on green-grey paper
Drawing

Driveway leading to a large cottages, in upper background. Right three cottages, left one.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Large floating foliate medallions alternating with smaller, grounded medallions. The top third of the background is tan, while the bottom two thirds contain a fish scale pattern.
Frieze
W. Campbell & Co., 1875–1906
Machine-printed on oatmeal paper, mica flakes

Flitter frieze, with circular floral medallions alternating with Rococo-revival medallions. Printed in white,metallic gold, and gold mica flakes on tan ground.
Cameo
, late 19th century
Paste

Head of a man with mustache facing left. Upright oval, white on brown
Ocean with Prominent Rocks and Distant Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Ocean against prominent rocks in left foreground, with additional rocks in right-middle ground. Cliffs in distance at right. Miscellaneous pen strokes in margin to right of image.
Textile
, 1780–90
cotton Technique: printed by engraved plate on plain weave

Straight repeat filling full width of fabric of two crossing, curving branches with flowers and leaves. One set of branches is bamboo-like. Birds perched on branches and a nest of fruit is placed above the crossing branches, which is balanced by a cluster of flowers. Very close to Bromley Hall patterns.
Vase
Rookwood Pottery, American, 1880 - 1967, 1901
Glazed earthenware

Sea green bulbous tapered vase with floral decoration.
White clay body, thrown. Low bulbous body with tall wide neck, slightly incurving lip; flat foot. Underglaze slip-decorated with branches of dogwood blossoms around body and neck. Light blue background with light green flowers and leaves. Very light green glaze overall; cracklature. Interior and bottom glazed.
Towel
, late 19th century
cotton, silk, metallic thread Technique: embroidered

Towel of dark red cotton in a crêpe weave. Ends embroidered in simple detached flower sprays of blossoms surmounted by curving leaf form. Center of flower, drawn and embroidered in gold; outlined in gold. Simple border design and buttonhole edge.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Landscape design with architectural details. View of mountains and clouds, enframed by rose swags and filigree or scalloped trellis.
Casket
, ca. 1500
Wood, pastiglia decoration, gilding, metal

A gilt wood and metal casket depicting a scene. Oblong box with projecting base and cover, four flattened ball feet, and rosette and round knob-sides and cover gilt and punch-marked.  Moulded and carved reliefs representing on front the Calydonian Boar Hunt; on back, the Judgment of Paris; on sides, the Baptism of the Samarians by Philip and Judith.  On cover, two pairs of winged genii holding wreaths.  Pilasters on corners, acanthus moulding on base and lower part of cover.  Moulding with oak leaves on cover, which is hinged to body with simple eyelet hinges.  Part of snap lock on front--corresponding part on cover missing.
Dish, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
dish

1959-155-5-a,b: Shell-shaped, the edge extending at one side to fo...
Miser's purse
, early 19th century
silk, steel Technique: crochet

Dark crocheted silk ornamented with cut steel beads in diagonal bar patterns and diamond shaped areas.  Two hexagonal steel rings control side opening; ornamental pendant of steel beads and bars at one end; steel beads form tassel at the other end.
Border
, 17th century
linen Technique: punto in aria needle lace

Fragment of a border with plant-like tabs in shades of natural linen.
Study for Maximum Mass Permitted by the 1916 New York Zoning Law, Stage 3
Hugh Ferriss, American, 1889–1962, 1922
Black crayon, stumped and erased; brush and black wash over photostat, varnish, on illustration board
Drawing

Rendering of very dark, monumental high-rise building complex with tall set back central tower, flanked by two shorter towers, each with setback upper stories that form a pyramid-shaped tops.  Background shaded with cross-hatching to create a halo effect behind the building complex in the foreground.
Pitcher
Mintons, 1868
Molded and glazed earthenware ("majolica")

Tall pitcher. Exterior molded with relief figures of a twisted branch at base, surmounted by relief figured (two make, two female) in medieval dress, against simulated stone wall of a tower. Upper portion with branches. Handle formed of twisted ivy branch. All glazed in polychrome.
Cover
, ca. 1800
glass

Molded pear-shaped body on knopped, domed foot on square base. Conical cover with cut, pontill acorn finial. overall pattern of notched vertical ribs base has radial trefoil fluting on underside.
Allegorical Figure of "Asia"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th century
hard paste porcelain, vitreous enamel, gold
figure

Turbaned female figure, holding scepter and censer, seated on camel facing left; in background, a palm tree.
Waistcoat
, 1730–50
silk, buckram Technique: embroidered in satin, running and knot stitches, with couched crimped thread on a satin foundation. The garment is lined with silk moiré and the skirt in interlined with buckram (sized heavy linen plain weave)

Gentleman's full-skirted waistcoat of blue satin with monochrome embroidery of floral forms worked heavily along the front and lower edges and pocket area. White silk moire lining in skirt.