biglam/cooper-hewitt-alt-text huggingface dataset:
The Pulley
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A landscape with a lantern hanging from a pulley and a ladder leaning against the pulley. A male and female figures standing in the foreground, with trees and a wall partly in ruins in the background. The plate is signed and numbered.
LIVRE DE DIFFERENTS Caracteres de Têtes. Inventez Par M. Watteaux, Et Gravez d’après ses Desseins, par Filloeul
Antoine Watteau, French, 1684–1721, 1727–34
Album

An album containing a portrait of Antoine Watteau after a self-portrait by the artist bound with 28 plates from a series of studies of heads and figures after Watteau.
Habillements des habitants de la Province de HOU KOUAN à la Chine
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Bound print

Chinoiserie scene of a young woman dressed in Chinese costume fanning herself in a landscape, with a man wearing a long moustache and hat laying in the grass beside her. The couple watches a young boy dance in front of them. The plate is signed.
Patch box and cover
, late 18th century
wood, varnished paper

A, Circular box, lacquered black. B, Cover, lacquered black, with engraving of the triple face of Christ in glory above an orb, suns and stars; colors painted in, and the whole covered with varnish which shows crackle.
Head scarf
, early 19th century
silk Technique: bobbin lace, Chantilly style

Shaped head scarf in black Chantilly lace showing pattern of garlands of floral sprays. Scarf outlined along edges by border motif of straight lines and repeated floral spray.
Design for a Playing Card: Queen of Diamonds
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

A queen in Gothic attire is shown standing holding a rosary in her right hand.
Melencolia (Melancholy)
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on laid paper
print

Vertical rectangle. A woman is seated, turned toward the right. She is represented as winged; her right hand holds a compass, her land is raised to her head, the elbow resting on a book.
Fragment
, 17th century
linen Technique: needle lace

Fragment of raised lace with a design of an ornamental scrolling leaf with openwork center and superimposed rosette and leaves.
Sketches for the Angel Beside "Charity," Chapel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, 1893 or 1894
Graphite on rough grey-brown paper
Drawing

Sketch for the angel beside "Charity," in the painting in the chapel of St. Bartholomew, New York. Shown in three different attitudes, but the left arm always leaning. Seated in the central and bottom sketches, the angel leans in the top one.
Clock
, 18th century
wood, lacquer, gilding

Yagura Dokei. Clock case. Lacquer painted + gilded.
Two Actors
Kikugana Eizan, ca. 1800
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Half-figures of two actors, one above the other. Upper figure, a girl, Oitaichi; wears kimono with flowered skirt and checkered underdress. Dress colored in tan (red-orange), now faded, with some gauffrage. Lower figure, a young man Kichisaburo, holding a fan.
Ceiling Decoration, Teatro Valle, Rome
Felice Giani, Italian, 1758–1823, 1821
Pen and dark gray ink, watercolor, black chalk
Drawing

Vertical rectangle. In the shape of a horseshoe, with a circle inscribed into the upper part. The circle is decorated with a central with a central circular representation (a winged female genius with wreaths in her right hand and a caduceus in the left hand, accompanied by putti) and four cross-like disposed smaller circles. In those above and at left is an ornamental cross with winged half-figures with wreaths in the out-stretched hands, in the angles. Below are suggested four similar half-figures cross-like disposed around a central disk, with ornamental candelabra between them. The circle at right is empty. In the spherical quadrangles between the circles are between the two .... a standing woman with a theatrical mask, a woman carrying a trumpet and sitting in a chair; above is a flying putto with a tablet. Below at left are a woman playing a lyre with two sitting women listening. Putto as above. Below at right: three sitting women, two of them with torches, the third with a theatrical mask beside and raising an object with her left hand. The fourth is empty. Below in the trapezoid is in the center the globe with a band with figures of the zodiac around it. At left Diana, at right Apollo, either in a quadriga. For the greater part of the bordering bands a moulding suggested........
Textile
, late 17th–early 18th century
silk Technique: plain weave with supplementary weft patterning (brocaded)

Cream coloured silk panel brocaded in the ‘bizarre' style with polychrome silks showing design of serpentine, cornucopia filled with flowers, and connected with strapwork. Both selvages present.
Fringe
, ca. 1870
silk Technique: woven

Heavy black fringe in two tiers. Made of chenille and twisted silk with tassels.
Fragment
, 19th century
silk, metallic Technique: woven

Angular stems on dark ground. Right selvage present.
Triumph of Death with three fates in an architectural frame above a wheel of fortune flanked by skeletons; a skull and an hour glass at top and with wheel intended to spin at center
Andrea Andreani, Italian, 1558/1559 - 1629, 1588
Chiaroscuro woodcut from three blocks in brown ink
Print

Design for a wall tomb featuring the triumph of death with three fates in an architectural frame above a wheel of fortune flanked by skeletons; a skull and an hour glass at top and with wheel intended to spin at center. Top corners of paper cut round.
Suite of Cavalry Officers: Corporal
Georg Philip Rugendas, German, 1666–1742, ca. 1730
Mezzotint engraving in dark brown ink on paper
Print

A mounted corporal is seen frontally, his horse turned slightly to the right. In his right hand he holds a sword. Other mounted soldiers in the background.
The Circumcision in the Stable
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1654
Etching on off-white laid paper
Print

Horizontal rectangle. Interior of stable. The Virgin prays at left. The Child is held while operation takes place and a group of men watch, at right.
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Tan colored silk damask brocaded in green and pink silk with metallic yarns. Brocading bound in twill by warps. Design in the ‘bizarre' style shows a pattern of large florals with serpentine chains composed of scrolls. Both selvages persent.
Grotesque with Deities. Plate 01 “Saturne” 2nd state
René Boyvin, French, 1525 - 1625, ca. 1540
Black ink on white paper
Print

Vertical rectangle. Grotesque-panel with Saturn standing on a pedestal at lower center. Masques, tendrils, puttis, draperies surrond him in a grotesque design.
Sleeve bands
, 19th century
silk Technique: embroidered on leno weave

Allover fret forming tangent geometric medallions in multicolored silk in form of Florentine stitch on undyed silk leno ground. Sleeve bands are joined down one long side to make rectangular panel.
Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and oil on board
Drawing

Nude female figure, reclining towards the left, with her right arm outstretched and left knee slightly bent.
La Tour de l'Horloge
Charles Meryon, French, 1821–1868, 1852
Etching in black ink on India paper, mounted
Print

Vertical rectangle. View of the Palais-du-Justice with the Pont-au-change in the foreground and part of the Pont-Neuf visible in background, right, the river facade of the building is shown in shadow. Title in plate, lower center.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. Large dahlia-like blooms on spiralling stems with fern-like leaves and little blossoms. At left, a vertical border with a repeat of spade-shaped leaves and two berries.
Design for a Decorative Panel
John La Farge, American, 1835–1910, 1880–1900
Graphite and watercolor on paper
Drawing

Horizontal panel with a curved frame on a blue ground setting off a smaller green and blue-black panel. Verso: graphite sketch of a similar motif.
Cover
, late 16th–early 17th century
silk on linen, metallic lace Technique: cross stitch embroidery

Oblong cover embroidered along all four sides in a geometric pattern. Diamond shapes filled with floral motifs are embroidered in red with metallic thread accents.
Le Combat de Tourmalet les Vaisseaux
Petitpierre et Cie, Nantes, France, 1770–1848, 1783
cotton Technique: printed by engraved copper plate on plain weave
Textile

Piece of cotton, scalloped at bottom, Plate-printed in red. Incomplete repeat of "LE COMBAT DE TOURMALET LES VAISSEAUX DE HEROS ET LE SUPERBE, 3 SEPT 1782." Below the two groups of vessels show, above two groups of savages in feathered head dresses, under palm tree.
Band
, 17th–18th century
linen Technique: bobbin lace, continuous tape

Design of thin scrolling stems with leaves and flowers. Bars or brides connect the motifs.
No. 2
Josef Lobmeyr Senior, Austrian, 1792 - 1855, ca. 1835
Mouth-blown crystal, faceted and relief-prismatic-cut and polished
Rhine wine glass

Mouth-blown green crystal wine glass, faceted and relief-prismatic-cut and polished
Soup Plate
Imperial Porcelain Manufactory, St. Petersburg, Russia, 1756–early 1760s
Glazed, painted and gilded moulded porcelain
soup plate

Circular form with scalloped rim; white ground decorated overall with molded and gilded trellis pattern with small pink blossoms with yellow centers at crossing points.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-ck: Aesthetic style pattern with single-motif diamond-...
Interior
Unknown, French, early 19th century
Brush and watercolor and graphite
Drawing

This view shows a large salon dominated by a center table covered with a green cloth. A woman, possibly doing handwork, is seated on a cane chair at the table.  On the right, two women are at the piano, while on the left, a man relaxes on a sofa. The parquet floor in a large diamond pattern and Empire armchairs complete the room.
Plate
, ca. 1760
Tin-glazed earthenware

Circular plate with scalloped edge; dark green flora and fauna decoration, three grotesque-type figures in center. Blue-green tinted glaze.
Perspective Elevation and Plan View of a Double Spiral Staircase
Adolph Bordeaux, French, active 1880–1890, February 13, 1883
Graphite, pen and black ink, brush and blue, grey watercolor on cream laid paper
Drawing

Design for double curved staircase with blue balustrade. Elevation at top and plan below.
Mourning picture
Unknown, 1794
silk, linen, hair Technique: embroidered

Black and white 'etching style" mourning picture has a woman near a tomb with the initials JC MC and the year 1794. Weeping willow to the left, and a graveyard with a tree and small owl on the right. Building in the background.
Vase
Rookwood Pottery, American, 1880 - 1967, 1886
Molded and hand-painted gilded and glazed earthenware

of baluster form, with peach glow matte background, painted with white dogwood blossoms on branches, the neck and foot gilded with a textured pattern of squares, the gilding going into the interior of the neck.
Borders
, early 19th century
cotton Technique: block printed by resist method on plain weave

A Greek key border design within guards. In white on blue.
Design for Serving Table with Convex Front
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Oblong  top with convex front having 2 drawers and raised on 4 straight tapering legs; 2 conforming shelves attach below; low backsplash with horizontal patera medallion center.
Dessert Fork with Monkey
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form leaf. On reverse side, monkey applied, with head poking through front side surface as if parting and breaking through the leaf. Toes of one foot visible clutching to edge of leaf on front side.
Cravat end
, 1740–55
linen Technique: bobbin lace, Brussels style

Cravat with symmetrically placed floral and foliated forms in an allover pattern.
À la Coté de Dieppe
William Unger, German, 1837 - 1932, ca. 1880
Etching in dark brown ink on white satin
Print

Two horses ar seen on a stony beach, with high cliffs in the background. Clam-diggers in the distance, and at the left, a sailboard.
Seven of Spades from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Seven of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Waistcoat fronts
, 1765–1780
silk, metal, sequins Technique: embroidery using coils of gold colored wire and sequins on a plain weave foundation with continuous supplementary metallic wefts in a twill binding

Two waistcoat fronts of cloth of silver with gold metallic threads. The fronts are embroidered with an all-over pattern of gold sequins; a narrow band of embroidery follows the center front and lower edges, and the pocket area is decorated with embroidered garlands of flowers, all in gold.
Landscape, Grindelwald, Switzerland
William Trost Richards, American, 1833–1905, July 17, 1867
Graphite on paper
Drawing

Sketch of a village with a church on the right, a couple in the center with a dog, and mountains in the background.
Sketches from Museé de Cluny, Paris
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Two chairs, left and center. Left, intricate legs and back, no arm rest. Center, rounded chair with arm rest. Corner of a table, lower right.
Frame
, late 19th/early 20th century
Carved, molded, and gilt gessoed wood

In seventeenth-century Spanish style, probably incorporating old frame elements. The upright rectangular form with putti and swags of floral bouquets surrounding the opening, the outer border with acanthus.
Sketchbook Page: Daniel
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a man in a top hat from behind.
Fragment
, 1100
cotton, wool Technique: slit tapestry

1947-49-11: Geometrical designs in tan and red. Motifs are out...;     1947-49-12: Geometric designs in tan and red. Motifs are outli...
Four Incense Burners, a Bracket and an Ornemental Motif
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pen and brown ink with ink wash; verso: pen and brown ink
Album page

Recto: Vertical rectangle. Four incense burners of quasi-classical design, ornamented with half figures; a bracket composed of a mascaron; an ornamental motif consisting of a mascaron and rinceaux and another rinceau motif. 

Verso: Horizontal rectangle: a scene of classicals ruins in a landscape and two standing figures possibly inspired by a woodcut in the Hypnerotomachia Poliphili, published in Venice in 1499. 

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Fragment
, 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Greenish-gold silk velvet, cut and uncut, on a red foundation in a floral vine pattern with birds and fruit.
Sampler
Francisca Perez, 1825
silk embroidery on linen foundation Technique: embroidered in cross, satin, and knot stitches on plain weave foundation

Temple and flowers framed within the inscription, with a wide border of geometric and floral pattern bands. All edges bound with pink silk ribbon.
Stormy Sea against Large Rock and Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against a large rock in left-center middle ground, line of cliffs at left in distance. Mischellaneous pen in margin at top right of sheet.
Frieze
Liberty Paper & Bag Co., 1900
Machine-printed

Clusters of white roses surrounded by gold scrollwork and green net pattern, on shaded green ground.
Chintz fragments
, 18th century
cotton Technique: mordants for 2 reds and purple applied by brush or pen; chintz on plain weave

Three fragments of the same fabric showing parts of a cartouche on a red background.
Sampler
Mary Lufman, American, 1798
silk embroidery on linen foundation Technique: embroidered in counted cross, satin and eye stitches on plain weave foundation

Multiple bands of alphabets and numerals separated by narrow cross borders, followed by a verse and inscription. At the bottom are trees, squirrels and deer. 
The verse reads: 
Learn a pace to grow in grace that Heaven may be thy dwelling place  
Mary Lufman, May the 3 1798
Border
, late 18th century
linen Technique: bobbin lace, Mechlin style

Border showing small-scale blossoms and powdered-over ground with a border of symmetric, repeated floral sprays.
Border
, 1850–80
Block-printed on machine-made paper

Blue twisted ribbon on black ground, with grey scalloping.

H# 627
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Horizontally repeating gothic-inspired pattern. Large medallions with borders of stylized fleur-de-lis and foliate scrollwork are printed in the middle of the panel. A border of smaller, similar medallions runs across the bottom of the page. An allover diaper pattern is printed behind the scrollwork, and gives the impression of a woven textile. Pattern is printed in reds, greens, tans and yellows atop a brown ground.
The Coolest Spot in New England – Summit of Mount Washington
Winslow Homer, American, 1836–1910, July 23, 1870
Wood engraving in black ink on paper
Print

Six sightseers look at the view from atop Mount Washington.  In the foreground, a man reclines on his elbow with his walking stick resting in his lap. Two finely dressed women sit behind him; the woman closest to the foreground is smelling a bottle.  In the left middle ground, another man sits holding his walking stick. There are two women behind him, one standing and one sitting.  Below the group on the left is the Tip Top House, the hotel at the summit of Mount Washington.  In the background, people on horse back.
Fork
, 1680–1700
ivory, steel, silver

Two strongly curved tines, pointing outwards, long baluster-shaped neck. Plain silver ferrule, oval in section. Carved ivory handle: two women in costume, one holding a bird in one hand, the other hand resting on the anchor in front of her (Hope), her bare leg partly visible, her foot resting on the lower part of the anchor. The other woman standing behind her, holding a cross in one hand and a Bible in the other hand (Faith). She also has one leg partly visible.
Blue-Bodied Roller, Plate 13 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

White-headed bird in a flowering tree branch. He has a blue body and wings, a brown back, and a green tail; green wing bars. Title and artists' names below.
Fragment
, 18th century
silk Technique: 5-harness satin damask

Mazarin blue damask with design of lateral rows of curving peony branches with diapered foliage alternating with floral vases. Faded pink and white satin selvages.
Sampler
, late 18th century
silk and linen embroidery on linen foundation Technique: embroidered in satin, running, knot, chain, whipped back, cross, and overcasting over stem, and couching stitches on plain weave foundation

Bands of repeating pattern in shades of blue, green,and beige.  Bands of withdrawn element work at each edge.
British Prime Minister Gladstone
, ca. 1890
Brass
Matchsafe

In the shape of British Prime Minister Gladstone's face, reverse undecorated and flat. Box opens on reverse, horizontal hinge near center. Striker in recessed groove on reverse.
Cover
, late 19th century
silk Technique: supplementary warp pile (velvet) in a 3&1 twill foundation Label: silk velvet in twill foundation

Velvet panel bound on four sides with a striped floral patterned silk. The velvet is patterned with rows of men standing, seated cross-legged, and confronted seated on chairs with birds, in a garden. In light blue and ivory pile on a pale yellow pile foundation.
Ceiling paper
A.M.P. & C.M. of U.S., 1905–1915
Machine-printed paper, liquid mica

Pink rose wreaths connected by lag and feather vining and interspersed individual roses. White ground. Printed in pinks, red, greens and white mica. Printed in selvedge: "M.P. & C. M. of U.S. Union Made" ["AOFL" or "AFOL"] Pattern number "0265"
Border
, 1850–80
Roller printed on machine-made paper

a) Narrow border with strung beads, printed on black background. Narrow dentil or rope twist band along either edge.
Bowl
, 1820–30
Glass

1986-61-142: Oval-shaped bowl with scalloped rim, on the sides ...;     1986-61-143: Urn-shaped body, tapered neck, shaped lip with pou...;     1986-61-183: Straight sides cut with strawberry diamonds, top a...;     1986-61-217: Round bowl with large turned-over rim on stem with...
Standing male figure with book
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing male figure. His left hand is raised, possibly holding an object. He holds a book against his waist with his right hand. He looks at (the object in) his left hand.
Sampler
, early 19th century
silk embroidery on cotton foundation Technique: embroidered in cross and knot stitches on plain weave foundation

Unfinished sampler, blank at top and with isolated motifs at bottom, including a horse under a tree, a ship, and several scenes with figures.
Seascape with Possible Rock
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of choppy ocean out towards horizon, (possible) rock at bottom right.
Street in Tangiers
Arnold William Brunner, American, 1857–1925, ca. 1891
Graphite and white heightening on cream paper
Drawing

An open space, lower right, with buildings around it. Awnings, far left. Figure sitting in front of building, left.
Frieze
, 1906–07
Machine-printed on paper

Narrow scenic frieze, groups of trees in foreground, then open fields, behind which are mountains, printed in blues, greens, browns, with yellow sky.
Border
, early 19th century
Technique: bobbin lace appliqué on machine net

Applique of bobbin lace, free-standing floral border. Early 19th century Honiton on machine net edge.
Countryside with Haystacks, House and Trees
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Field with haystacks in right foreground. House in distance at left, with one tree at right and a few trees at left. Additional stands of trees on horizon at right, and mountains at left in far distance.
Sidewall - sample
, 1906–07
Machine-printed

Art nouveau; elongated styllized tulips on long stem with two elongated leaves. Fine line leaves, oblong and curvy, fill the background of tiny dots and vermicelli lines. Printed in pink, red, green and brown on a beige background.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Loose grid or trellis pattern formed of scrolling acanthus sprigs, motif of four foliate sprigs at intersection. Roughly square-shaped motif centered in void, connected to trellis by curved broken or dashed lines. Printed on off-white ground.
Border
, ca. 1600
linen Technique: punto in aria needle lace

Border with heart-shaped forms. Design taken from pattern book by Parasole dated 1597.
Doge’s Palace, Venice
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Center, outline of panels to court, with colors noted. Below, capitals. Most are decorated with acanthus leaves and faces.
Saint Simon and Saint Thaddeus
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on laid paper
Print

Figures of two Apostles shown walking toward the left. Saint Simon, at left, carries a saw. Saint Thaddeus, at right, carries a club.
The National Capitol, 1861
Edwin James Meeker, American, 1853 - 1936, ca. 1887
Pen and ink on cardboard
Drawing

A large group of soldiers, in formation, standing in front of the facade of the Capitol building. The dome is seen in progress during construction.
Pilgrims at St. Sophia
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Men in robes seated or kneeling.