biglam/cooper-hewitt-alt-text huggingface dataset:
Octopus and Sea Star
George W. Shiebler & Co., American, 1876 - 1910, ca. 1880
Silver
Matchsafe

Oblong, curved sides and corners, featuring raised decoration of upside-down octopus on body, starfish on lid, monogram "MR" on reverse. Lid hinged on side. Striker on bottom.
Boot with Spur
, late 19th century
Plated brass
Matchsafe

In the shape of a knee-high boot with tassle hanging from front, rotating brass spur at heel. Lid on top, hinged at back. Interior appears to have compartment for recessed pencil. Striker on sole of boot at bottom.
Adoration of the Magi
Albrecht Dürer, German, 1471–1528, 1511
Woodcut on paper
Print

The Virgin is seated at right, facing left in profile. She holds the Child, standing on her lap. The three Magi appear before them, bearing gifts.
Frieze
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper, textured, liquid mica

Printed two borders across the width. Foliate rinceau printed in metallic gold and copper, interspersed with brown and white flowers. Narrow band of beading along top edge. Printed on background that shades from light tan to pink to blue.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

Imitation leather. Diaper of tiny close-set beads.
Cliffs and Ocean
William Trost Richards, American, 1833–1905, late 19th century
Graphite on white paper, lined
Album page

1953-179-85-29: Craggy cliff surrounded by ocean.50;     1953-179-85-30: Cliffs at left, ocean lower right.50
Street in Villefranche
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Narrow street, with one figure on it. Four-story buildings on each side.
Sidewall
, 1900–1920
Machine-printed

1972-39-15-a/c: Center flower with surround of red flowers, with e...;     1972-39-1-a/c: Floral stripe design with small-scale red flowers ...
Fire-Works on the Night of the Fourth of July
Winslow Homer, American, 1836–1910, July 11, 1868
Wood engraving in black ink on paper
Print

Faces of a large crowd of people watching fireworks.
Rugby Player
, late 19th century
Silver-plated metal, enamel
Matchsafe

Rectangular, with rounded edges and corners, featuring polychrome enamel decoration of rugby player, surrounded by etched foliage ornament. He wears red and white striped, long sleeve jersey, white, knee length playing pants, red and white knee socks. Behind him is a brown goal post, beneath a green and brown grass-like reserve. Lid, hinged on left, features abstract, etched ornament on front. Striker in recessed groove on bottom.
Design for State Bedchamber, in Second Livre d'Appartement (Second Book on Interiors)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Design for a bedchamber in shell theme.
Bracelet
Filippo Tignani, Italian, 1867
Gold, stone

Gold bracelet set with pietra dura portrait of Frederick Augustus Chauncey, father of donor. Cameo separates to become brooch or pendant.
Textile
, 18th century
silk, metallic thread Technique: woven

Fragment heavily brocaded with metallic thread in a design of fantastical animals, plants and architectural elements outlined in red.
Knife
, early 18th century
Steel, horn, gilding

Sabre-shaped blade, the shoulder etched and gilded. Waisted bolster, octagonal, engraved with stylized leaves. Horn handle tapering towards the point, oval in section, carved horizontal bands near bolster.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil shapes having the appearance of embroidered stitching with fill of stylized floral motif. Four-petaled floral motif centered in void between quatrefoils. Printed in terra cotta and tan on lighter tan ground.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Alternating square and diamond shape foliate medallions are surrounded by borders of pearl-like dots and interspersed with small, light green decorations. Larger pattern is printed over an allover grid of small dots. Design is printed in light browns and greens over beige.
Scenic
, 1800–1825
Hand painted paper, canvas lining

Four painted wallpaper panels from a screen. Each panel contains part of a nautical or harbor scene with tall ships, figures and rock outcroppings. Each panel contains an inset marbelized panel at bottom.
Condition: rather battered
Scenic
, 1795–1825
Hand painted on handmade paper

Blue-gray sky background. Different varieties of flowering trees and plants with either white or pink blossoms. A perching owl and multicolored bird. At bottom, on green ground, are rocks and two gray fowl.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim, painted with a large branch of convolvulus/bindweed (Ipomoea purpurea) and various insects.
Santa Claus and His Presents
Winslow Homer, American, 1836–1910, December 25, 1858
Wood engraving in black ink on paper
Print

The mother and father fill stockings while the children sleep. Upper half of the page.
Shawl
, 19th century
wool Technique: twill and interlocking twill tapestry weave, embroidered Label: wool 2/2 twill and interlocked twill tapestry with embroidery

Pieced rectangular panel of fine white wool twill with deep borders on four sides of closely-set, right-facing peacocks with scrolled tails that alternate with small cypress trees rising from an urn. Fine floral motifs fill spaces in between. Embroidered design of cypress and paisley fill the central field. Set-in end borders.
Pierced Oval Cake Basket
Thomas Heming, English, 1723 – 1801, 1758
silver
basket

Oval cake basket with pierced trellis and foliate motif decoration, broad rim with grape clusters and wheat ears, and latticework bail handle with foliate scrolls and female busts at hinges. On four scroll feet headed with frilled shells. Interior of basket bowl engraved with a later coat of arms, crests, motto, and inscribed banderoles.
Border
, 16th–17th century
natural linen Technique: grid of laid cords with needle lace, reticella style; edge of punto in aria

Narrow border with alternating geometrical forms and wheel-shapes.
Sidewall - sample
, 1907–08
Machine-printed on paper

Stripe design, wide bands of white alternating with narrow bands of green.
Rip Van Winkle
, ca. 1892
Machine-printed paper
Sidewall

On a fleur-de-lys rococo or Aesthetic-style wallpaper fragment, pattern by Urquhart & Stevens Wallpaper Co. Printed with an advertisement for a presentation of "Rip van Winkle," a dramatization by Dion Boucicault. It also advertises the wallpaper product by the manufacturers.
Sketchbook Page: Partial Sketches of a Dog
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Partial sketches of the head and legs of a dog. Additional sketches of  the rear leg of a dog scratching an itch, and of a dog biting itself.
Fragment
, 13th century
wool, cotton Techique: plain woven with discontinous weft (tapestry)

Red ground has a central horizontal band with blocks of blue, green, black, blue, and red. Each square contains the same upright figure with dangling antennae in multicolor.
Head of a Woman
Sir Edward Burne-Jones, English, 1833–1898, 1870–90
Red chalk on cream wove paper
Drawing

Head of a woman seen from right front, looking downward.
Dish Cross
Robert Hennell I, English, 1741 – 1811, 1792
silver
dish cross

Bulbous silver lamp with four horizontal arms that are square in section and have dish supports at each end. Each support has a long octagonal foot with a curved arc leg. The dish is supported by an arc-shaped rest with a five-sided top and a long flat rounded extension that serves as the base. These are supported by a two-armed curving decoration that connects to the dish cross' arm.
Quilting
, 1700–1750
cotton, linen, wool Technique: embroidered; quilted plain weave

One half of a woman's skirt, white cotton, backed with linen, quilted; wide border at bottom embroidered in polychrome wool. Border design: Quilting, small circular pattern, spiral ending in flower heads. embroidery, arrangement of alternating flower sprays, formally arranged, connected below with curving lines, and with shorter curves above, suggesting broken enframement. Reds, blues, yellows, pinks, lavendar, drab. Many flowers and leaves outlined in different colors. Narrow  guard border below, of trailing vine. Stitches, chain and herring bone. Note that the quilting is worked through the lining, but embroidery is entirely on surface. Body of skirt is quilted in simple zig zag, perpendicular. Pocket hole at top, now stitched together. Stitches using wool: chain, buttonhole. Quilted with linen thread through back layer of sheer cotton plain weave with inner layer of cotton wadding in upper section and in border band cotton cord inserted through back between rows of stitches.
Lake with Wooded Shores, Maine
Frederic Edwin Church, American, 1826–1900, October 1878
Graphite on white wove paper
drawing

Landscape sketch showing a loosely rendered view of a lake's enshrouded and heavily wooded shoreline near Millinocket, Maine. Water extends from the foreground to the middle distance at center, bounded at left and right by shores covered in deciduous and evergreen trees. In the background, the tops of billowing clouds are visible above the horizon.
Cover
, 1809
silk, gold Technique: embroidered

Purple gauze over red silk. In center, a crucifix with the sun, moon and stars in silks and gold, surrounded by sun rays in paillettes and fine gold embroidery. Angels in the corners swing chalices and the ground is strewn with cherubim in silks and gold. Two inscriptions in Armenian, of which the earlier is undated: "In memory of Lady Takouhi, deceased in Constantinople, daughter of Sir Tovma, the fat merchant and Muslim native of Tokat, and for the enjoyment of Archimandrite Aristakes." "Rededicated to the memory of the soul of Mikael, the Deceased son of Sdépan Balian the pilgrim, at the Three Saints Church in Kutaia. 1809."
L’Air
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching on paper
Bound print

Title plate of a series of six numbered plates. Symmetrically-designed panel with grotesques, including two horn-blowing children standing on an eagle at lower center. Ornamental decoration includes birds, garlands, and flowers.
Textile
, 1700–1750
cotton Technique: resist printed on plain weave

Fragment in two shades of blue on a white ground. Only a small portion of the design shows - one ornamental leaf or cone and a bit of a blossom. Much use of white dots in a linear pattern to enhance design.
View of a Bridge and Buildings at Honda, Colombia
Frederic Edwin Church, American, 1826–1900, May 23-31, 1853
Graphite and oxidized white gouache on gray laid paper
Drawing

Landscape and architecture sketch showing a view of a wooden bridge and buildings in Honda, Colombia. Viewed from the bank of the Magdalena River, or one of its tributaries that intersects at Honda, an arched, wooden bridge spans a river or wide stream whose banks have been walled up. Moss and other sparse vegetation grows from these walls. On the opposite side of the bridge at left, a large building with a terra cotta tiled roof is visible. At right, the nearby bridge support is outlined in graphite.
Design for a Woven Motif
, 1815–1830
Brush and gouache on oily tracing paper
Drawing

Fantastical flower shown perspectively in bird's eye view.
Angel and Child
Giovanni Vitalba, Italian, 1783 - 1792, ca. 1765–1785
Engraving in brown ink on white paper
Print

The angel faces frontally, with one hand on the hands of the child, with the other pointing to the sky. The Child is facing the angel, with his hands pressed together for prayer.
Design for Woven Shawl with Paisley Motif
, 1825–50
Brush and gouache on brown oiled translucent paper
Drawing

A paisley motif, also referred to as a Persian cone, is formed by multiple flowers and green leaves grouped closely together. Although the flowers are mostly red with yellow centers, some are blue (also with yellow centers). A floral framing motif is at the bottom, and a garland is positioned beside the motif on the upper right. Red vertical stripes, with what appears to be parts of flower blossoms and leaves between them, appear to the right of the garland.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Military trophy design incorporating foliate branches, cannons, basket, cannon balls, festoons of leaves, spears, and flags. The plate is numbered and signed.
Design for Doors for a Porte Cochère
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching and engraving on laid paper
Print

Elevation of a set of double doors for a porte-cochère carved with ornament motifs including mascaron, rinceaux, and scrolls.
Title Page
Nicolas Pierre Loir, French, 1624 - 1679, 1660–1716
Engraving and etching on paper
Print

Title page and ornament panel design with a central cartouche of a man pursuing / chasing a woman, framed by foliate scrolls, shells, scrolling acanthus leaves (rinceaux), festoons of leaves, basket of flowers, foliate branches, putti, potted plants, rosettes, ribbons, and bird heads. The title is lettered along the bottom, and the plate is numbered.
Street Scene, Guayaquil, Ecuador
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite and white gouache on gray-green wove paper
Drawing

Sketch showing a view of a street in Guayaquil, Ecuador. At left, five buildings line the road, facing at least five others on the opposite side. A church's steeple on the end of the right side of the street is visible at center.
Soleil
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical staff with a sunburst decorated with ornament motifs including branches, clouds, winged cherub heads, scrolls, and a triangle. The plate is signed and numbered.
Sampler
Susannah Cathells, American, 1826
silk embroidery on cotton foundation Technique: embroidered in cross, satin and stem stitches on plain weave foundation

Two verses with baskets of flowers, an inscription, and in the lower third, a landscape showing boats on a river, a house and a church on either bank, trees, and figures. The whole is surrounded by a strawberry vine border. 
The verses read: 

How blest the maid whose circleing (sic) years improve
Her God the object of her warmest love
Whose tender years successive as they glide
The book the needle and the pen divide
Who sees her parents hearts exult with joy
And the fond tear stand sparkling in her eye

Jesus permit thy gracious name to stand
As the efforts of an youthful hand
And while her finger on the canvas move
Engage her tender thoughts to seek thy love
With thy dear children let her have a heart
And write thy name thyself upon her heart
Fragment
, 14th century
linen warp, silk weft Technique: 2/1 twill patterned with complementary wefts

White fretwork motif on terra-cotta background.
Brooch
, 1820–40
Pen and ink, brush and watercolor on paper
Drawing

A round diamond is surrounded by small ones. Above, a scroll of a ribbon with a row of small diamonds. A swag with three drops below.
Sampler
, 1743
Medium; silk embroidery on wool foundation Technique: cross, satin, tent, half-cross, and back stitches on plain weave

The central scene shows the Woman of Samaria at the well with Jesus. Other motifs are alphabets, vases, crowned initials, etc. Numerals in the box at the upper right are all backwards.
Design for an Altar
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1640–50
Pen and bistre, brush and watercolor on paper
Drawing

Elevation of an alter. The right half is shown with the adjacent part of the bay of the wall. The retable has the shape of an aedicule with the group of St. Michael with the Devil in the center, and with a triangular pediment, upon whose side a woman with a tablet is sitting.
Sampler
Sarah Harris, 1786
wool embroidery on linen foundation Technique: cross stitches on plain weave foundation

Long vertical rectangle worked in many colors on a natural ground. An alphabet appears at the top. The remainder of the space is filled with pattern lozenges containing flowers, birds and animals. The work is signed "Sarah Harris" and "a token of My Love to EG 1786".
Sidewall
, 1860–70
Machine-printed paper

All-over vine pattern with floral forms. Printed in pinks, black and green on green ground.
Cartouche
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Cartouche topped by an eagle with a wreath in its beak, and decorated on its edges with scrolls, mascarons, putti, clouds, and garlands. The plate is signed and numbered, but is before lettering and before the portrait of Oppenord engraved in the center of the frame.
Two Designs for Chairs
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Two designs for upholstered armchairs with ornately carved frames featuring flowers, shells, scrolling leaves and laurel leaf molding. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Chimborazo from the Rio Guayas, Ecuador
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape and botanical sketch from Ecuador showing views of snow-capped peak from a river and two sketches of vines with leaves, at left. At right, in the foreground, the river's water extends to the middle distance, where it meets the heavily wooded bank. A rugged jungle extends to the background, where the snow peak looms above the surrounding landscape while clouds gather at its base.

Verso: Landscape and architectural sketch showing views of a houseboat and mountainous river landscape in Ecuador. At upper left, a sketch of a houseboat with a floating flower garden is visible. An outline of the same structure is included in the lower left corner. At right, a view of a river island with a large cross is visible. Large mountains rise in the background.
Box or Snuffbox Design
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a round box or snuffbox showing, from top to bottom, the elevation of the lid, with fluting; a top view of the lid, with a caduceus in the center currounded by bead course, scrolling acanthus leaves, and wave band; and an elevation of the box with its lid open at the hinge, and which features a garland of flowers and gloral tassels draped from ribbons, between which are rosettes. The plate is signed and numbered.
The English Army on Campaign
Artaria and Co., founded 1770, ca. 1810
Engraving, brush and watercolor on cream-colored paper
Print

A company of English soldiers is seen about to break camp and head on the march. A group of officers are on horseback in the immediate foreground.
Waistcoat
, 1750–1800
silk embroidery on silk foundation Technique: embroidered in chain stitch on ribbed plain weave

Waistcoat with standing collar and slightly curved hem, in green grosgrain silk embroidered with silk thread in a delicate pink and green floral design of tiny flowers sprinkled over the front. Denser sprays on pocket flaps, placket and standing collar. Originally made for a made and altered to fit a small boy.
The Teton Range from the East
Thomas Moran, American, b. Britain, 1837–1926, 1892
Graphite on gray-brown paper
Drawing

Recto: horizontal view of the distant ranges, across mountainous country, with a valley containing rocks and barren pine land in the foreground.
Verso: View of the less distant main range, across a valley.
Fragment
, 16th–17th century
silk, metallic thread Technique: woven

Oval shapes containing bouquets of tulips and carnations.
Cartouche with Armorial Trophies
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting with oval opening, topped by two armorial trophies at upper left and right. Additional arms, plumage, and vegetal decoration complete the ornamental scheme.
Door Frame and Figure Studies
Filippo Marchionni, Italian, 1732–1805, 1750–75
Pen and ink, brush and gray-brown, gray watercolor on laid paper
Drawing

Left row: above is a peasant, sitting upon a ruined circular architectural object, below the door frame. Above the molding framing the opening is a tablet. Circular entablature with escutcheon with a head, and branches inside; it is supported at left by a console being shaped with its lower part as a triglyph. Right row: head of a woman with protruded tongue; a putto upon clouds, shown in profile carrying a branch; part of a faun.
Saint Dominic
Cornelis Galle I, Flemish, 1576 - 1650, ca. 1630
Engraving on laid paper
Print

Saint Dominic in center oval, looking up toward the right, a star on his forehead. He holds a crucifix and lily in his right hand, a church and rosary in his left. Before him a skull, orb, dog with a torch. Three small scenes of his life around the frame. Below, the inscription: "Benedictus Redemptor. omnium qui saluti providens nominum, Mundo dedit, SANCTUM DOMENICUM. IESU bone, prece Domenici, tibi gratis praesta nos gratos effici. Below artist's and publisher's names.
Five chalices
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

1) The stem has below the shape of a baluster, supporting a knob, shaped as a band with two cherubim. The upper part of the stem is twisted. The lower part of the knob is decorated with a calyx and with circular medallions separated by plants. 2) The upper part of the foot and the stem are angular, the foot and the lower part of the stem being convex. The sides of the foot are decorated with oval medallions, supported by figures at the corners. The lower part of the stem is a pedestal supporting an urn, as the knob. It is decorated with festoons supported by angels standing at the corners. Above the urn is an angular foot with the bowl. The latter is decorated with festoons supported by cherubim. 3) In the upper part of the foot are festoons supported by cherubim. The lower part of the stem has the shape of a crater without handles. It supports a base with angels, standing around the stem. The bowl has a calyx and a row of cherubim. 4) The upper part of the foot has a row of circular medallions. The lower part of the stem is a vase with cherubim as handles. Its neck and rim are simultaneously the foot of a baluster. At its front is a standing angel. The bowl is decorated like 1901-39-948. 5) Angels sit upon the foot. The stem is a variation of 4). The cherubim support festoons. The baluster is angular. Usual background. On the back above at right, the lower part of a number: 10 or 70.
Design for Painted Decoration of a Wall, with Alternate Suggestions
Unknown, Austrian, 1835–50
Brush and watercolor, graphite on white laid paper
Drawing

A dado is at the bottom, a high entablature with a colored ovolo [convex molding] at the bottom, on top. For the panel are suggested horizontal rows of discs with leaf boughs in the wedges, in the lower part of the design horizontal alternate rows of circles and wreaths, respectively. The neighboring motifs are to be intertwined. Bough rosettes are in the centers.
Scroll- and Bandwork Escutcheon
Jacob Floris the Elder, Flemish, 1524 - 1581, 1566
Engraving on paper
Print

Showing the date, "LAET / DE COCK / COKEN", the monogram [I and C with a stylized pendant heart between them; see cat. card for sketch], and two boys and two putti in the framing.
Self-Portrait
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a male figure.
Design for a Tympanum
, late 18th century
Graphite, pen and ink, brush and sepia on paper
Drawing

Design for a demi-lune tympanum with putti holding a blank crest. On either side, decorative devices encircled by ribbons.
Band
, 16th century
linen Technique: withdrawn element work

Band of cutwork in a design of an angular vine with leaves. On one side, a piece of plain white linen cloth; on the other, white fringe.