biglam/cooper-hewitt-alt-text huggingface dataset:
The Nativity (Adoration of the Shepherds) from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Scene in the manger, with the kneeling Virgin and St. Joseph at left. Two shepherds kneel at right, the Christ Child lies in a basket between the two groups, attended by an angel. Monogram of Dürer, in reverse, lower right.
Luxor, Egypt
Elihu Vedder, American, 1836 – 1923, March 8, 1890
Pastel crayon on blue-gray wove paper
Drawing

Interior of a columned hall, with a series of arches springing transversely from the columns. Braces at the level of the capitals run at right angles to one another.
Window Alcove for the Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Design for an alcove with an arched ceiling and a window. Painted lattice-work designs on the walls and on the lunette above the windows.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

Clusters of ferns in different shades of green, twigs, sprays, flowers and berries on a band of green, pink, and light blue bead-like moulding.
Sidewall
, ca. 1885
Fiber composition impregnated with tung oil, embossed and painted

Imitation leather. Serpentine flowering stems with leaves and flowers in color. Brown ground.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted dark green silk ornamented with cut steel beads in a diamond repeat pattern.  An ornate steel ring controls side closing; steel band tassels at each end.
Figure Sketches at Blois
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on grey-brown paper
Drawing

Various figures, male figure sitting, leaning, looking over low brick wall. Lower left, man with hat, cane and bag standing. Center, two women walking.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on blue wove paper
Drawing

Purple concentric shapes from a dense pattern, yellow and purple bumble bee-like motifs overlay the background.
Fragment
, 19th century
silk on linen Technique: embroidered

Fragment showing fantastic animals, flowers and a human figure in multicolored silk on a natural ground.
Border
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

Two bands of continuous swirling vine and flower pattern, each bordered on the bottom by a repeating pattern of alternately large and small inverted curved v's with the large ones containing a simple flower design on a solid ground bordered and separated by thin horizontal bands. Printed in yellow, mica, gray, brown and tan.
Textile
, 18th century
cotton Technique: mordant dyed and painted (chintz) on plain weave foundation

Lattice of ribbons enclosing flowers.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Mission/art nouveau style. Large floral pendants and swags of pink roses and green leaves, outlined by a tin cream-colored leafy vine, which hang from a brown knotted ribbon outlined by beading and the same leafy vine. Ground shades dark to light beige from bottom to top. Printed in selvedge: "Hobbs. Benton & Heath."; pattern number "3380" "FM"
Textile
, ca. 1855
cotton Technique: printed on plain weave

Scenes commemorating the marriage of Napoleon III and Eugenie. Vignettes include: marriage ceremony under a canopy with an inscription; massed standards and a shield under a column of Vendome; and Napoleon III reviewing the troops and balustrade, columns, garlands of flowers, and a fountain. Light brown ground with the design in purple and areas reserved in white.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Partial gold frame in shape of a flower containing a group of pink, blue, and purple flowers with green leaves and tendrils.
Chintz fragments
, late 18th century
cotton Technique: mordants for red and purple applied over resist; madder dyed; blue applied by immersion over resist, (chintz) on plain weave

Fragment of a larger design. Fragment includes part of a stripe, part of a floral arrangement, and what might be the tail of a bird.
Embroidered picture
, 17th century
silk and metal embroidery on linen foundation Technique: embroidered in tent, knot, and couching stitches and looping (needle-made lace) on plain weave foundation

Picture illustrating the story of Pyramus and Thisbe.  Wide floral borders with an animal in each corner and a bird in the middle of each side.  Several areas raised.
Textile
, 17th–18th century
silk Technique: woven

Off-white silk brocaded in multicolored silks in a fan-shaped pattern of detached elements in a horizontal arrangement. Threes rows in a staggered repeat have a tree and flower motif that alternates with paired mermen blowing horns. The next row has men in chariots. Below are addorsed leaping dogs that aternate with a floral spray. Row below has a square-rigged vessel.
Bowl
, 14th century
Copper, tin

Bulbous bowl with wide lip, under which is a decorative band with text. Repeating pomegranate pattern on body.
Waistcoat
, 1770–80
silk Technique: embroidered in satin, stem, and chain stitches (made with a tambour hook) on plain weave foundation Label: silk embroidered with silk in satin, stem and chain stitches

Gentleman's waistcoat in ivory silk faille with embroidery on collar, pockets, center fronts and lower edge. Embroidered in 22 shades of silk with floral garlands which form circles down the center front when the waistcoat is buttoned.
Border
, 18th century
linen Technique: bobbin lace, Brussels style

Border with floral sprays and volutes balanced by animals at intervals.
Border
, 1800–1830
Block-printed on handmade paper

On light brown ground, pattern in bright blue, yellows, pink, brown and black. Urns on pedestals, Greek key, tasseled fabric, with flower and leaf pattern, etc.
Infirmity
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 – 1605
Pen and brown and black inks, brush and black wash over black chalk on laid paper
Drawing

Recto: Richly decorated interior with an old woman seated in an armchair before a fire. Her left leg rests on a footstool, crutches are beside her. A woman stands to her right, holding an open book. In the background, through the open door, a group of figures is seen gathering in a city square. 
Verso: mounted.
Two Trophy Designs
Jacques Ignace de Latouche, French, 1694 – 1781, ca. 1750
Etching and engraving on paper
Print

Two ornamental trophy designs. The top includes a mask, horns, scrolling leaves, foliate branches with flowers, and a book. The bottom includes a lyre, guitar, musical instruments, sheets of music, and foliate branches. The plate is signed and numbered.
An altar
, 1750–1775
Black chalk, brush and gray-blue wash on paper
Drawing

Vertical composition of an altar with a cross on top, a putto on the top right, and God the Father looking down at Christ supported by three putti
Title Page
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron banister with decorative motifs including lozenges, rosettes, strapwork, fleurs-de-lys, a wreathed monogram, and a lion holding a shielf. The plate features the title in the upper right, but is not signed or numbered.
Design for Ceiling with Aurora as the Central Motif
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and dark brown and black ink, brush and dark wash on paper.
Drawing

Central oblong supported by trapezia. Genii alternate with leaves in latter. Color notations: "Coroni/ Verdi", "ale giale"; "..(?)/Fossa."  Oblong surrounded by strips with ornament. Color notations: "rosso"; "darchia"; "ornati diari..(?)". Inscribed in oblong circular medallion in which Aurora represented. Laterally, putti facing short sides. Verso: rough pencil sketches, ink scribbling. Inscriptions illegible, most likely not Giani.
Wallpaper Design
, 1825–30
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, an entablature on top. They are connected by pilaster strips, which are decorated by vertical poles which are surrounded by a spiral band, in grisaille. The inner panel shows on top a green ovolo molding and a high frieze with a flower garland. The lower part shows rows of palm tops upon olive ground. The palm tops consist of a row of petals, two rows of leaf boughs, and a petal on top of each. Two different sizes, different colorings are shown and their direction are opposite in alternate horizontal rows. The rows of the smaller motifs are staggered.
Frieze in Classical Style, A Villa Upon a Hill
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1840
Pen and black ink, brush and bistre, gray watercolor, graphite on paper
Drawing

Vertical rectangle. At left, horizontally, a fragment of an entablature with a high frieze whose lower edge is formed like a step. At left, a festoon supported by two mermaids; at right, a trophy with the figure of a captive bound to it. At right, a villa upon the peak of a hill, with a peasant house below.
Shoe
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Two sketches of a lady's shoe with details of the heel and arch.
Curtain Design, Curving Gateway Antique Architecture
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and brown ink on laid paper, laid down; verso: pen and brown ink
Drawing

Horizontal rectangle. Stage design for curtain. Triumphal arch on stairs, buildings behind. Verso: architectural study.
Poële de la Salle à Manger
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Details, elevations, sectional views, and plans for a dining room stove decorated with Empire style motifs, mascarons (masks), festoons, and rosettes. The plate is titled, numbered, and signed.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including pediments and altars. The left side of the upper plate functions as the title page. Both plates are numbered, neither are signed.
Designs for Ornament, Jewelry, and Seals
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry, seals, bracelet, hairpieces, pendants, oval box lids or mirror-backs featuring monograms, crowns, a scorpion, scrolling leaves, ribbons, fleurons, hearts, feathers, and flowers. The plate is signed and numbered.
Mold
, 18th century
Repousséd copper

In the form of a goose with ring on neck.
Ornamental Vase Design
François Voisin, French, active 18th century, 1786-1789
Engraving on paper
Print

Lidded vase with a finial of a winged putti holding on its head a basket of wheat. The vase has two handles formed from stylized leaves the spiral at the top. The thin neck of the vase has a repeating lozenge pattern filled with rosettes. The shoulder of the vase has a band of alternating mascarons and acanthus leaves, with a medallion of a roman bust in its center. The vase has a narrow, tapered foot with acanthus leaf decoration and is elevated on a low socle. The print is numbered but not lettered.
Paper Doll Costume in Dark Pink and Light Pink Ruffles
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Dark pink outer layer of dress splits in center, revealing lighter pink ruffles.  Roses line dark pink shell and neckline, and rows of flowers on front. Three tiers of ruffles in skirt. Doll holds handkerchief in one hand an a fan daintily in the other.  Both back and front of dress represented.
Sketch of Billowing Clouds
Frederic Edwin Church, American, 1826–1900, 1870–80
Graphite on brown wove paper
Drawing

Atmosphere and landscape sketch showing a view of billowing clouds in a tumultuous sky over hilly terrain. At center and right, a mass of clouds rises into multiple billowing forms and casts shadows on the clouds behind it. Multiple other long and wispy clouds are visible in the sky. The outline of a hilly landscape follows the lower margin.
Vignette with Angels and Instruments of the Passion
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Two angels seated upon a laurel and a pear branch.
Elevation of Drawing Room Entrance Wall with Vaulted Ceiling
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left and at right are two door frames with painted overdoors. In front of the dado of the central panel are two couches and a console table. Above is a section of the ceiling.
Study for "Roman Girl", Head of a Woman
Daniel Huntington, American, 1816–1906, 1841
Graphite and black crayon on cream-colored wove paper
Drawing

Left bust profile from behind a female who is looking down.
Deluge over Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, September 1860
Graphite on white wove paper
Drawing

Landscape sketch showing a view of a storm dumping heavy rain upon the wooded hills of Mount Desert Island, Maine. These heavily shaded hills form the rolling horizon near the lower margin. Above, in immense and billowing stormcloud unleashes sheets of rain--here articulated as hasty vertical pencil scratches. Rain falls in an isolated area, like a weak microburst. In the background at right, puffy clouds hang in an otherwise open sky.
Mountain Landscape
Daniel Huntington, American, 1816–1906, circa 1864
Graphite and white crayon on grey paper
Drawing

Trees in foreground and right. High range of mountains beyond. Verso: White Mountains: -Washington, Jefferson, Adams, Madison, labelled.
Designs for Two Chairs and a Fire Screen
Richard de Lalonde, French, active 1780–96, 1849–66
Etching on paper
Print

Designs for two upholstered chairs and a fire screen with carved frames featuring leaves, flowers, festoons of flowers, feathers, rosettes, gadrooning, leaf molding, and fluting. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Panel with the Exploits of Theseus
Charles Normand, French, 1765 – 1840, ca. 1800
Pen and black ink, brush and watercolor on paper, lined with white heavy paper and framed by blue color paper border colored light brown and black
Drawing

Design for a wall panel.  The composition shows episodes from the lives of Theseus, interspersed amidst a finely drawn, elaborate display of garlands, urns, nymphs, leafy arbors, pavilions and arabesques.  From the bottom up the scenes represent:  Theseus discovering the sword and sandals of his father, Theseus slaying the Minotaur, Theseus abducting Antiope, and Theseus being rescued by Hercules.
Carved Inscriptions
Frederic Edwin Church, American, 1826–1900, 1868
Graphite on gray-green wove paper
Drawing

Sketch showing a transcription of carved inscriptions on ancient ruins in Syria or Palestine (Israel). Organized into two horizontal rows across the composition, the groups of Greek and Latin letters are bunched together within rectangles, likely representing the stone rocks upon which the letters were inscribed.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a trophy with a portfolio, measuring devices, roundel portrait, rolled piece of paper, and a leg, framed by flowering branches with leaves, and a hanging festoon of leaves.
Title Page for Trump Kards
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Title page for Josh Billing's Trump Kards. Center; hand holding playing cards.
Omnaya Riverbank (Omnya-Gashi) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

In keeping with showing scenes of Edo, Hiroshige presents the darker side of city life. Two young women in the boat, known as "night hawks" (yotaka) were considered the lowest form of prostitution and were often pimped out by their fathers or brothers. It was not uncommon for these girls to have disfigured faces and so they coated their faces with so much makeup that they would appear to be wearing masks. Along with the white face veneer, they would carry around mats so they could provide their services anywhere. Hiroshige does not shy away from this grim truth. Instead, he exaggerates their eyebrows with harsh lines, which brings to fruition this provocative image.
Lit à la Polonaise
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan of a bed with a canopy, decorated with drapery and bouquets of flowers in urns shaped like heads. The plate is signed and numbered.
Patchwork fragment
, mid- 19th century
cotton Technique: patchwork

A triangular fragment made up of three types of printed cotton: brown with blue and white leaves; brown with tan and white geometric forms; and tan with a pattern of white dots.
Elm near Pitman's, Bartlett, New Hampshire
Daniel Huntington, American, 1816–1906, September 5, 1862
Graphite and white chalk on buff paper
Drawing

Elm, center, with a farm house at left and mountains in distance, at right.
Plate 9, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

Vertical rectangle showing an escutcheon surrounded by scrollwork. Perched above is a bird with fruits and masks. In each corner, a design.
Pair of Stockings
, 1850–1900
silk Technique: knitted Label: Knitted silk

Pair of women's knitted black silk stockings.
Trimming
, ca. 1820
silk Technique: woven

Trimming fragment in a design of a Greek motif in yellow on a blue ground.
Design for an Embroidered or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Two fantastical sunflower blossoms.
Spoon
Phillipe Berthier, French, active Paris 1841-1851, mid-19th century
silver
spoon

Pointed oval bowl, with baluster scroll join to the panelled tubular stem issuing four foliate volutes below the lozenge shaped crusher terminal.
Designs for Bedroom Decorations
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Top row, left: the elevation of the wall with the alcove. Curtains fill the upper part of the opening. Right: the left half of a similar elevation. Between a support, a caryatid upon a high plant and a wall panel is a narrow passage. Curtains hang on top of the openings. Bottom row, left: beside a sketched elevation of the back wall in the scheme of 1938-88-1508, is the similar elevation of the wall with the door. It is drawn over a part of a sketched scheme for the ceiling decoration. Right sketched section of the room showing the back wall with the alcove shaped as a niche.
Trophy Design
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching in red ink on laid paper
Print

A design for a musical hanging trophy printed in red ink, incorporating a jester's staff, horns, guitar, sheet music, bagpipe or musette, French Horn, triangle, foliate branches, and ribbons. The plate is signed.
Study of Angel with Vase
, 18th century
Red chalk on paper
Drawing

Angel seated on a pediment holding a small vase with one hand
The Summit of Mount Washington
Winslow Homer, American, 1836–1910, July 10, 1869
Wood engraving in black ink on paper
Print

Groups of figures and horses on rocky terrain, on the summit of Mt. Washington.
Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, 1795-1800
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Two colonnades of twelve intercolumnar spaces each and with a balustrade or a railing on top stand before the bottom floors of the central section. They connect the projecting lateral wings, which have three bays and four stories, a mansard over the main story included. Doors with triangular pediments lead to the wings. Colored background.
Sugar Tongs
Andrew Demilt, American, active ca. 1805 – 1844, ca. 1805
silver
sugar tongs

Single piece of silver bent to form tongs with spoon-form grips, bright-cut on back with oval patera and guilloche bands, the patera with engraved initials "HMJ" script in center.
Chandelier d'autel
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a candlestick for an altar, decorated with ornament motifs including fluting, scrolls, and winged cherub heads on clouds. The plate is signed and numbered.
View Towards Damascus, Syria
Frederic Edwin Church, American, 1826–1900, April 24–May 16, 1868
Oil paint on paperboard
Drawing

Landscape sketch showing a view of Damascus and the plain it occupies from an elevated perspective in the Anti-Lebanon mountains. In foreground, mountain ridges at left and right descent into the center of the composition and toward the middle distance, where the winding Barada Stream and nearby lush fields are visible. At upper right, the distant Damascus is shown made up of white and peach-colored buildings. Mountain peaks emergy from an otherwise hazy horizon at upper left.
Adoration of the Shepherds
Ubaldo Gandolfi, Italian, 1728 – 1781, 1766
Pen and brown ink, brush and brown wash, black chalk on white laid paper, laid down on blue wove paper
Drawing

The Virgin, seated, holds the Child in her arms, at center; a kneeling and a standing shepherd, a woman with a fruit basket upon her headand angel are shown at left; at right, an elderly man, gesturing boys to approach, bands of shepherds and angels, an ox and an ass; angels of glory with a paper scroll at top.
Title page, from "Recueil de Toutes Sortes d'Ornements Propres à Orner Les Eglises Maisons et Jardins"
Jean Le Pautre, French, 1618–1682, 1652-1700
Etching on paper
Print

The Baptism of Christ has been carefully cut out, in its stead is written the title of a set of prints.
Brisé fan
, 1873
Painted wood sticks, silk ribbon

Brisé fan, carved à jour with floral forms. Each stick has an oval near its tip with a woman dressed in a costume representing the different regions of the country. The medallions are painted and varnished.
LE THEATRE D’EAU
Adam Perelle, French, 1638 – 1695, 1672–1703
Etching on laid paper
Print

A view of a large water display within the gardens at Versailles with multiple cascading fountains, basins, and jets of water on different levels with sculptural groups. The whole is framed by trees and groves. Figures (courtiers) throughout. The plate is titled with a description.
Sunset Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of a bright sunset over the mountains of Jamaica. In foreground, a steep slope and prominence at left give way to taller mountains and ridges in the middle distance and beyond. Above, the sky hosts a mix of clouds as the sun sets. Along lower margin, oriented in reverse, another sketch of a twilight sky is visible.

Verso: Mixed sketches showing a view of a vibrant sunset over a loosely-defined landscape at upper left, a wooded and shaded hillside at lower left, and two seated figures with their backs turned--one adult wearing a hat and one small child--visible bottom right.
Two Balcony Balustrade Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two balcony balustrade designs from an album of decorative ironwork. The designs feature c-scrolls, and geometric bands. The upper design includes the French Royal cypher with the double L's. The plate is signed and numbered.