biglam/cooper-hewitt-alt-text huggingface dataset:
Sidewall
York Card & Paper Co., 1891, 1900
Machine-printed paper

Matcing sidewall and celing paper. Scrolling foliate medallions with inset floral bouquet. Additional foliate scrolls form arch connecting medallions, with pendant floral sprig beneath arch. Ceiling paper has foliate medallions forming quatrefoil motifs, with interlaced vining floral. Printed in metallic gold scrollwork, flowers in shades of yellow, on off-white ground.
Sampler
Lucy Lathrop, ca. 1800
silk embroidery on linen foundation Technique: embroidered in satin, eyelet, cross, long armed cross, rococco variation, chain and couching stitches on plain weave foundation

Embroidered in many colors on a black embroidered ground; a center panel with upper and lower case alphabets, numerals and the signature, and a wide floral border. The black background stops with an outer border of green cross stitch one row thick.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Printed two borders across the width. Floral sprigs spread out amongst foliate scrolls. Top half of background is colored very pale green, while the lower half is deeper green
Pocket Knife from Traveling Dressing Case
Asprey & Son Co., London, England, 1872 - 1879, 1875
mother-of-pearl, steel, brass
pocket knife

Pocket knife with mother of pearl handle.
Bush Clover on Lattice
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

This composition is created using stylized lattice and interlace bush clover. Bush clover (hagi) is a member of the seven flowers or grasses of autumn (aki no nanakusa). This plant is a popular motif typically worn from August to mid-October. It has become a fashionable kimono design since used in a scene from the Tale of Genji. This plant is also associated with being strong. Floating among the bush clover are clouds covered with silhouettes of birds. Silk threads have been added to support the stencil structure.
Ceiling detail with two seated figures and escutcheon
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two seated female figures on either side of an escutcheon, with the indication of an inscription below. The figures are wearing headgear. They touch their left hand to their chest and rest their right on their knee.
Jar from Traveling Dressing Case
Thomas Whitehouse, British, active 1848-98, 1875
glass, silver
jar

Glass jar with a polygonal base and silver top. The jar has a many-pointed star cut into the bottom. The silver top has incised decoration with a five-banded border with three different pattern types. The center of the lid has a monogram.
The Good Samaritan
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1633
Etching on cream laid paper
Print

The figure of a nude Israelite is seen being helped from a horse, held by a small boy, before the door of an inn. At the door, the turbaned figure of the Samaritan is paying and instructing the inn-keeper. A dog squats in the right foreground.
matchsafe
, late 19th century
Porcelain

Figure of woman drinking from yellow bottle. Figure wears a rust dress with a white ruffle around the neck and a white apron with big blue dots. Figure's hand is in an apron pocket.
The Vesper Bell
Axel Herman Haig, Swiss, 1835 - 1921, 1879
Etching in brown ink on cream-colored heavy paper
Print

Figures are seen ascending a stairway which leads across a small bridge to the open door of a Gothic church. The scene is probably inspired by Bruges.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, applied mica flakes

On beige ground, trellis made up of gold wreaths with pink blossoms and green leaves. Flitter paper.
Fragment
, 1750–1800
linen warp, cotton weft Technique: block printed (2 reds and black), yellow and blue applied by brush, plain weave foundation.

Roses and carnations on picottage diamond grid.
Edge
, late 17th century
linen Technique: bobbin lace (Valenciennes ground)

Band with scalloped edge and symetrical plants.
Sidewall - fragment
, 1840–60
Block-printed on paper

Against a white ground is printed a large, serpentine floral design with blossoms and foliage in light gray. Small, geometric details are printed in yellow ochre.
Border
, 1835–45
Block-printed

Scrollwork sparingly embellished with blue and yellow beads. Blue and yellow flowers with green leaves are found in the openings of the grisaille framework. (A fourth length may have been clipped from this width).
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Mission Style/Art Nouveau. Groups of three flower bouquets, each with three very stylized square flowers, whose stems contain bead and reel and key patterns. These groups are offset by a smaller individual bouquet of flowers. Background has interlocking triangular swirl pattern filled with dots and lines. Ground shades from brown to light beige (bottom to top). Printed in red, green, brown, tan, and metallic gold. 
Printed in top selvedge: "S. A. Maxwell Co." "CK 2754"
Lobed Dish with Ganymede, Jupiter, and Sphinxes
Jean Berain, the elder, French, 1640-1711, ca. 1735
faience
dish

Dish with four lobes and eight points. The center is decorated with the young Ganymede and Jupiter in the form of an eagle. A sphinx on either side. Swags, scrolls, groteschi masks and diapered fields complete Berain-style design. Beaded edge with triple line and scrollwork.
Apron
, 18th century
silk Technique: embroidered in satin stitch on plain weave

White silk taffeta apron with a small bib and full gathered skirt, embroidered with a deep border and small sprays in field of vines, flowers and grape clusters in many colors. Trimmed with a pink silk galloon; belt and ties of pink silk ribbon.
Port Side of 5075 Tanker, Showing Camouflage
Griffith Baily Coale, American, 1890–1950, 1917–18
Color lithograph on paper, laid down on cardboard
Print

The ship faces left. Arc camouflage. Specifications given in box, upper right. Approved, lower right.
Two 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

Two of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Bush Clover and Stripes
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Stylized bush clover carved from an abstract organic shape is placed on top of receding stripes. Silk threads are added to support the stencil structure.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Acanthus rinceau with band of floral motif along bottom. Two borders printed across the width.
Sampler
, late 19th century
cotton Technique: braided tape, needle lace fillings

Braided tape sewn into grid formation, filled in with needlelace.
Fragment
, 17th century
linen, silk Technique: needlework on gauze weave

Fragment of a border with a symmetrical scrolling vine pattern in green on gauze weave.
Saucer with "Strohblumen" Pattern
Limbach Porcelain Manufactory, German, 1762 - 1939, ca. 1790
hard paste porcelain, vitreous enamel
saucer

Curved shape, reeding on the outside. Decoration of underglaze blue "Strohblumen" pattern.
Waistcoat
, 1780–90
silk Technique: embroidery using satin, stem and knot stitches in 14 colors on silk 7&1 satin foundation

Gentleman's waistcoat with embroidered design of grape harvesting and wine casks.
Plate 16, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Alternating rows of rings and chains, all with masks and strapwork.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Floral bouquet set within foliate scroll medallions, alternating large and small.
Waistcoat
, 1750–60
silk Technique: painted on plain weave (taffeta)

Gentleman's ivory silk waistcoat with an all-over painted pattern of small pink flowers on a blue curving vine, with a border of roses on a yellow lattice at the neck edge, center front, lower edge, and pockets.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered, bobbin lace (?)

Sampler with three compartments containing a variety of pattern bands embroidered using a running stitch with black thread.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold, green gouache on cream paper
Drawing

Design for a plate with gold and green border; border has green areas filled with gold rinceaux and blossoms; some trellis-like designs along border interior; at center quatrefoil in gold and green with little dots leading out.
Sidewall
, 1801
Block-printed

Trellis pattern covered with vining floral. Printed in green, white and brown on light green satin ground.
Alphabet (Incunabulum page ?)
David Roelands, Dutch, b. 1572, ca. 1615
Engraving on white laid paper
Print

Letters various sizes inscribed on a sheet of paper.
Geometric Pattern
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Geometric clusters of various punch shapes form a vague weaving pattern. Japanese characters appear on the bottom right corner.
Design for a Chaise Longue and a Sofa
Radel, German, active 1760 – 1770, 1849–66
Etching on paper
Print

Design for a chaise longue and sofa with sculpted wooden frames, cabriole legs, and upholstered with plain textiles. The frame of the chaise long features diaper pattern and shells and feathers. The frame of the sofa is decorated with flowers, leaves and a festoon of flowers along the bottom. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Cupid Visiting Psyche
, late 16th century
Brush and wash, pen and brown ink on paper
Drawing

At left is cupid, kneeling with his right leg upon the bed, shown from the front.  His arms are extended toward the left, his head is turned toward the right.  At right, in a smaller scale, is the warrior, walking toward the left and drawing the sword.
Vignettes with Angels and Instruments of the Passion
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

The vera ikon held by two flying angels.
Valley Near Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 3, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch of mountains and valley near Guaranda, Ecuador. A prominent, rocky, and wooded hill dominates the composition at right and descends from right to left into a river valley at lower left. The river, rendered in white gouache, curves through the valley from the middle distance into the foreground. In foreground at right, a human-made structure is visible at base of hill. At left, an elevated plain extends towards mountains in the distance.
Detail du Plan de la partie du Bosquet du Théatre et de la Grande Salle de verdure qui y correspond
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Etching and engraving on paper
Print

Plan for a section of a garden featuring groves, fountains, and a stage with the title lettered within a cartouche surrounded by putti, clouds, coat of arms, textiles, allegorical motifs, within a landscape with ruins, sculptures, and figures with musical instruments and a telescope. The plate is titled, numbered, and dated.
Design for the Base of the Silver Crucifix for the High Altar of Saint Peter's, Rome, Italy
Carlo Spagna, Italian, ca. 1641 - 1680, 1670–72
Pen and brown ink, brush and brown wash, black chalk on off-white laid paper; verso: black chalk
Drawing

Drawing in three registers. Upper register, garlands are suspended from a large mask which is flanked by open scrolls; central register, two male nudes (slave figures in the style of Michelangelo) rest neatly within each curving concave side of the base flanking a framed central oval medallion; lower register, volutes and lion paws with the Farnese crest at center. The left half of the sheet is more finished.  Verso: Figures in a tondo. Left foreground, the Madonna is shown seated supporting the dead Christ in her lap;  right foreground,  the Magdalene kneels beside the Madonna behind which an unidentified figure stands. Left background, the Cross is faintly suggested. Upper edge of tondo, angels' heads.
Study: The right hand of a man around a stick
, 1700–1750
Black, red and white crayons on brown paper
Drawing

Vertical composition of a man's right hand holding a stick. The beginning of the forearm is shown in the lower left.
Painting, from a Series of Seated Muses
, 1750–1780
Pen and bistre on paper, mounted
Drawing

Shown from the front. She carries the brush in the right hand, the palette in the left hand. Framed by ink lines.
Keyhole escutcheon
, ca. 1800
Brass

Circular. Repoussé decoration with raised boss at center. Foliate decoration at rim.
Study: A left hand carrying a stick
, 1725–1775
Charcoal on blue-grey paper
Drawing

Horizontal composition of a left hand carrying a stick, turned toward the left and seen partly from above. On the reverse is a part of a standing figure with a hanging arm.
LA BALANÇOIRE / LE JEU DU COUPE-TÊTE
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

First plate from a series of twelve scenes depicting children's games, framed within decorative rococo cartouches, two per plate, side-by-side. The left-hand scene shows a group of children playing on a seesaw within a landscape, with buildings in the background. The right-hand scene shows a group of children playing piggyback with a dog in the foreground, within a landscape with buildings in the background. The bottom of each cartouche incorporates mascarons. The titles are lettered below each frame. The plate is signed and numbered.
Study for a kneeling woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite on paper
Drawing

A female figure kneeling. Similar to -a with the head shown and turned slightly more towards the right. Drawn over a slight sketch in red crayon. Obverse, charcoal sketch of a standing female nude leaning her chin in her right hand.
Three Putti
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Three flying putti in the clouds holding sprigs of leaves. The plate is signed and numbered.
Project for a Silver Handle
, mid- 18th century
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Elevation shown. Handle consists of leaf scroll, a shell suspended from a capital. The bottom part of the shaft consists of a high bracket with an escutcheon between scrolls. A baluster with floral decoration rises at top.
Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching on laid paper
Print

Three designs for heraldic achievements with devices in the shields along with four designs for vignettes featuring arms and armor, drums, military tents, allegorical figures, a fortification, an urn, and incense burners. The heraldic achievements feature military motifs, arms and armor, flags, crowns, and allegorical figures. The plate is numbered.
Project for an altar with alternative suggestions
, 1775–1780
Pencil, pen, brush, sepia and grey water color on paper
Drawing

Vertical composition of an altar with a surbased pediment and an attic topped by an angel on the left. The angel holds garland that hangs from the central medallion. The bottom right corner contains part of the steps of the altar from 1901-39-2572.
Sketch of Seated Woman for National Academy of Design Tympanum
Daniel Huntington, American, 1816–1906, ca. 1885
Graphite on cream wove paper
Drawing

Seated woman at left, lightly sketched, with head and arms not shown. Right foot repeated above.
Two Apostles
Luca Giordano, Italian, 1634 - 1705, ca. 1750
Red chalk on cream laid paper
Drawing

Vertical rectangle. Figure of Saint Peter, holding key, conversing with another Apostle.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rectangular cartouche or frame design with a scrolling shell motif and a smaller oval cartouche framed by a crown of reeds above. Water flowing down the sides of the cartouche from the top of the frame, with fish, reeds, branches, and rockery forming along the lower sides, with another blank rectangular cartouche framed by a shell motif below, with more water flowing from the shell. The plate is numbered and lettered.
Arabesque Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Vertical arabesque ornament design featuring classical motifs. In the center a fantastical fountain, its base decorated with mythological creatures, male figures, masks, birds, and acanthus leaf motifs with hanging festoons of leaves and fleurons. On either side of the base, sphynx with water shooting out of their mouths. Above the basin two putti with water pouring out of their mouths, standing around a fluted vase decorated with a mask and the head of apollo above with foliage, and basket of fruit above its head, with scrolling acanthus leaves, rosettes, and fleurons ornament. Two birds drink from the basin, perched on either side. Two peacocks perched on a horizontal line above the head of apollo, with hanging floral motifs. Two birds perched above in the center within the leafy foliage. The plate is signed and numbered.
Stage Design, Palace Interior
Antonio Sarti, Italian, 1797 - 1880, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Interior of palace, columns around wall, stairs leading up to the background.
Two Ornamental Trophy Designs
Jacques Dumont, French, 1701 – 1781, 1729–61
Etching and engraving on paper
Print

Two designs for hanging ornamental trophies (side by side) with arms and armor featuring swords, shields, axes, spears, feathered headpiece, quiver of arrows, bows, and ribbons. The plate is numbered and signed.
Three Cartouche Designs
Juan Dolívar, Spanish, active in France, 1641–1692, ca. 1690
Etching on paper
Print

Three cartouche designs featuring scrolling leaves, festoons of leaves, olive branches, palm leaves, angels, mascarons (masks), male torsos, and the French royal coat of arms.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A pendant suspended from a ribbon with a bow knot. Strapwork forms a cartouche with three drop pearls. On either side are nude figures straddling griffins. Above, a seated figure in an archway. The plate is numbered.
Dedication Letter
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Letter written by the architect Emmanuel Héré to Louis XV introducing the plates of the plans of the place royale de Nancy. The letter is frames by an elaborate border of floral and vegetal garlands and scrolls, with three shining fleurs-de-lys set within a laurel wreath at the top.
Stage Design, Gothic Palace, Church, and Fortress
Angelo Toselli, ca. 1765? – 1826, ca. 1800
Pen and brown ink, brush and brown wash over black chalk on wove paper, ruled border in pen and black ink
Drawing

Horizontal rectangle. Square, lined with buildings, partly ruined, some with ogival arches, temple-like building on right, stairs leading up.
Saint John the Baptist in Prison, Visited by his Disciples
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: Figures, some seated, in a prison corridor.
Verso: In a grand hall with many figures, a woman standing in the 
foreground hands a head upon a platter to a male figure. In the background, up a flight of stairs, another smaller figure holds the same platter.
Border fragment
, mid–late 18th century
cotton Technique: block printed on plain weave

Repeating pattern of a mound and a basket of flowers.
Button (without cover)
, ca. 1780
Ivory, metal foil

The carved and pierced ivory shows a couple strolling in a landscape on a pink foil ground.

On card 68
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Two ornamental friezes with scrolling leaves (rinceaux), griffins, male and female figures, festoons of flowers, fruit, and leaves, a shell with a profile bust in the center. The publisher's address is lettered in between the two designs.
Plan et Elévation d’un Buffet de marbre avec ornements de bronze et dont le Tableau et plafond sont peints à Paris chez Monsieur le Normant
Pierre Cottart, French, ca. 1630 – 1701, ca.1680–1710
Etching and engraving on laid paper
Print

A plan and elevation of a buffet in a niche at the residence of a Mr le Normant in Paris. To the right, the elevation of the wall with a tiered buffet set into an arched niche. The buffet features vases, and plates, with a still-life painting of jugs, plates etc. set into the wall behind. The ceiling of the niche is also painted and the cornice level above is decorated with sculpted molding. On either side of the buffet, pilasters hold up the arch with wall sconces with two candles each. On both walls flanking the buffet are fountains set into rectangular niches. The fountains feature open mouthed masks, with water pouring out of their mouths into shell-shaped basins below, supported by plinths. Above c-scrolls, s-scrolls, and fleurons ornament. The upper left is a plan of the buffet set within the corner of a room, with a scale below. The plate is titled, numbered, and addressed.
Architectural Fantasy with Fountain and Obelisk
Louis-Joseph Le Lorrain, French, 1715–1759, 1762
Black chalk, brush and gray wash on off-white laid paper
drawing

A fountain, an obelisk, and a statue of a horse are shown against parts of a colonnade.  Enlarged at the bottom and at left by the artist who wrote his signature in one of th eparts surrounding the fountain. Strips of paper have been added to the top and bottom of the drawing.
Frieze
, ca. 1680
Leather, stamped, painted, silvered

Portion of a frieze, in varnished silver, red, white and green; arabesque of roses with border at top and bottom stamped with geometrical motifs.
Frieze, from the set, "Ornemens à la Mode"
Jacques Androuet Du Cerceau the Elder, French, ca. 1515 - after 1584, ca. 1650
Engraving on laid paper
Print

Three friezes; top: with two cornucopias; center: with a woman's head; bottom: with a flower basket. With "Fait par du Cerceau" and Langlois's address, "rue St. Jacques a la Victoire"
Woman
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Partial sketch of a female figure draped in fabric with her head covered.
Decorative door boss and nail
, 16th–17th century
Wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. High round boss in each leaf. Five-notched nail with mushroom-shaped head and square shank.
Le Rendez-vous
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A rococo ornament print featuring a fantastical fountain made up of c-scrolls, scrolling acanthus leaves, shell, and grotto motifs, fluting, with a flowering vase on the top right. The water pours out of the mouth of a mask onto a shell and basin below. A finely dressed woman leans against the fountain, to the right, in the foreground, as a man peers over at her from the left, behind the fountain. Trees in the background. The plate is titled, numbered, and signed.
Base Attique. Imposte et Archivolte Corinthien.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

On the left, an Attic base with a scale bar to the right of "3 Modules." On the right, an impost with fluting, bead course, and egg and dart ornamentation topped by an archivolt with bead and dart course, egg and dart, and lamb tongue ornamentation. To the right is a scale bar of "2 Mod[ules]." The plate is signed and numbered.