biglam/cooper-hewitt-alt-text huggingface dataset:
Water color; Rinaldo Rinaldini is reciting upon the jetty
Saverio della Gatta, Italian, 1777 - 1829, 1828
Pen and black ink, water colors on paper
Drawing

Horizontal rectangle. A man is show [sic] standing upon the jetty and reciting from a book. His hat lies in front of him. He is surrounded by listeners forming a semicircle. The lighthouse is shown in the middle distance. Framing lines. Signature: "Gatta 1828."
Decorative Motifs, Three Designs for Fountains
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1840
Pen and black ink, brush and bistre, gray watercolor, graphite on paper
Drawing

Horizontal rectangle with multiple designs for fountains and decoration. Left row: above, an elephant ridden by a noble person shaded under an umbrella. Below, a fountain on which two boys are struggling against a dragon, from whose mouth the water springs. Second row: above, a fountain with two male mermaids supporting the basin, together with a central support. Below, the left half of a decorated fountain with the water pouring from an urn held by a seated male figure. At left, the upper part of a rampant dragon. At right, designs for armor, helmet, and weapons. At upper right, design for a frieze including cupids with swords, shields, and helmets. Below, a male mermaid raising a spear or triton, a lion behind him.
Girl Holding a Branch of an Apple Tree
Winslow Homer, American, 1836–1910, 1879
Graphite on heavy off-white wove paper
Drawing

A view of a young woman dressed in a pinafore and hat at center, clinging to the branch of an apple tree. She looks to the left and her figure is in shadow. In the background a fence and a portion of a tree are visible.
Border
Dufour et Leroy, 1810–15
Block-printed and flocked on handmade paper

Vertical rectangle. Portion of a frieze with simulated carved architectural moldings across bottom. Above, portion of two floral wreaths through which passes white satin drapery shaded in greys and green. The top edge of the drapery has been cut out.
Galerie métallique des grands hommes français (Great Men of France)
Jean Joseph Dubois, French, 1798 - 1841, 1818
Cast bronze
Medal

Bust of Jean-François Regnard (1655 -1709), to the right.
Bavarian Alps near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil and graphite on tan paperboard
drawing

Landscape sketch showing a view of preciptious snow-capped mountains in the Bavarian Alps, Germany, notably the Watzmann at left and possibly Hochkalter in the distance at right. Viewed from midway up a steep mountainside, the foreground consists of the various rocky washes and wooded areas that comprise the diagonal slope, which divides the composition from upper right to lower left. In the middle distance at left, the floor of a lush valley is shown with a village. The opposite side of the valley is visible in the background, made up of a bulging and rugged mountain range strewn with snowfields. At left, the Watzmann is visible with the Hoher Göll or Hochkalter obscured by clouds at right.
Design for the Grand Staircase at the Palazzo Reale, Milan
Giuseppe Piermarini, Italian, 1734–1808, late 18th century
Graphite, pen and black ink on paper
Drawing

The building depicted is two stories. In the upper story is a window between two doors all having frontispeices with panes of glass; the entablature is supported by pillars. The ceiling is vaulted.
Design for Doors
Gilles Paul Cauvet, French, 1731–1788, 1777
Etching on paper
Print

Design for an ornamented doorway with inset arabesque panels and decorated frame. Overdoor panel shows two putti sit beside a portrait bust of Minerva with instruments of the sculptor and the painter.
Capriccio for a Painted Ceiling
Carlo Antonio Buffagnotti, Italian, ca. 1660–after 1715, ca. 1690
Pen and brown ink, brush and bistre, black chalk, on paper
Drawing

A high domed interior space permeated by billowing clouds with two twisted garland-entwined columns, an imposing balustrade, and an arched colonnade below a sweeping infinity where angels fly.
Design for a Motif of a Woven Fabric
, 1815-1840
Gouache on oily traving paper, mounted
Drawing

A lily of the valley spray a bough with a leaf and a fantastical blossom.
COUTEAUX A POISSON
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Four designs for fish knives with Empire style motifs including scrolling leaves, fleurons, arrows, fluting, gadrooning, sea creatures, s-scroll, putti in a shell being pulled by fish, putti on a sea creature, and fish scale pattern. The plate is titled, signed, and numbered.
Fragment
, 17th century
silk, metallics Technique: woven

Stars in red, white and metallics on blue ground.
Design for a Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1810
Brush and white gouache, graphite on paper
Drawing

Somewhat more than the right half is shown. An eagle, similar to -102, stands on top of the medallion which does not show the monogram. Rinceaux start from its bottom; plants rise from the rinceaux. Scalloped framing at the bottom and at right, showing a peacock feather leave in each hollow.
Button
, 1830–48
Brass

Insignia composed of suite of half-armor on crossed guns and an anchor surrounded by the words, "Ecole Royale Polytechnique". In use during the years 1830-1848.

Components -b,-c,-e and -f,-g, which are smaller
Ribbon ornament
, 19th century
silk

Flat ornament representing a bouquet of flowers made of multicolored ribbons and chenille thread.
Card case
, 19th century
silk, metal, paillettes Technique: embroidered

Design of birds and floral forms in chenille and metal threads. Initials V.A. Lined with light blue silk.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for a chimney piece (fireplace, mantel and overmantel) with classical motifs. The mantel is decorated with a trophy of musical instruments, an eagle, festoon of leaves, and herms (male torsos on top of tapered plinths) on either side. The overmantel features a sculpted male portrait bust within an oval niche, flanked by hanging trophies, and putti wearing armor, topped with a cartouche supported by winged putti. A scale below. The plate is numbered.
Study for Painted Decoration of a Ceiling, Casino de la Reina (Queen's Casino), Madrid, Spain
Vicente López y Portaña, Spanish, 1772–1850, before 1818
Black and white chalk on blue paper
Drawing

Study for a ceiling decoration painted for the main salon of a mansion referred to as the "Queen's Casino" in Madrid. Depicts an allegory of the donation of the Casino to Queen María Isabel de Braganza by the City Government of Madrid on the occasion of her wedding to King Fernando VII in 1816. An allegorical female figure representing the city of Madrid sits atop a cloud in the center of the composition. A few cherubs gather and form a circular structure underneath her. Various figures, including both angels and humans, appear in different poses amongst the clouds surrouding her.
Study of a Bowing Man Holding a Bow
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite and black ink on paper
Drawing

Study of a bowing man holding a bow for the Painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Dyer's record book
Cocheco Print Works, Dover, NH, USA, 1877–88
paper, printed cotton textile samples

Notebook with handwritten formulas for dyestuffs to be used for printing textiles.  Book contains 118 samples in various designs. Label on cover reads Trial Book 2.
Panel
Lydia Bush-Brown, American, 1887–1984, 1905–19
cotton, silk Technique: block printed on plain weave with satin, split, and couching stitches and French knots

Rectangular panel with a row at both ends of block printed flowers in blue embellished with satin and split stitches and French knots. Sides decorated by orange couching.
Fragment
, early 19th century
silk Technique: bobbin lace, "blonde"

Fragment of continuous floral patterns | fragment of continuous floral pattern ???
beaker, footed
, late 18th–early 19th century
treen

The body is formed of a cylindrically turned truncated cone, with sides that taper outward toward molded lip. The underside of body is flat, joined to thin stem and splayed circular foot with raised step molding.
The Ancient Temple
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A view of an ancient temple with stone walls, columns, thatched roof, and a bell above. In the foreground a female figure stands on steps, giving alms to an older woman near a makeshift roofed dwelling. The stairs lead up towards an arch topped with a cross and the church or temple to the right. The plate is numbered.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. gold color on gold color
b. pink ground with green and 2 other shades of pink
A Destitute Woman in Rome
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A woman similar to that plate 19, loc. cit., having a child in her lap and another crouching beside her. A burning lamp stands between her and the man who is shown walking toward her from the left back side.
Textile
Stead McAlpin & Co., Carlisle, England, ca. 1838
cotton Technique: block printed on plain weave

Pattern is comprised of pointed stained glass windows and arches of a church in the Gothic style. Outline of leaded glass probably roller printed while the balance is block printed. Design shows arched windows in three sections with rosettes and blazons in brown, red, blue, yellow and black.
Design for a Mass-Operational House Designed by Hector Guimard, Support Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, construction details for supports.
The Phrygian Sybil from Raphael’s Fresco in St. Maria della Pace
Raphael, Italian, 1483–1520, ca. 1800
Graphite, chalk on paper
Drawing

A robed figure standing with one foot on a vase.
Photograph
Hector Guimard, French, 1867–1942, 
Photographic print on sensitized paper

A photograph of a table designed by Hector Guimard. The elongated legs of the table curve inward and attach to a solid base.
Fragment with chef
Manufacture Anglaise du Chateau de Sevres, 1760
linen warp, cotton weft Technique: printed by engraved plate on plain weave foundation

Design in red on white of peacock, parrot, and magpie with large flowers.
Meeting of the States General at Versailles in 1789
Isidore-Stanislaus-Henri Helman, French, 1743 - 1809, 1790
Engraving on paper
Print

Interior of the Hall of Revels at Versailles showing the King presiding over the meeting of the États Généraux.
Fringe
, 16th century
silk Technique: woven

Green fringe is formed by allowing areas of weft to hang from the center of the band which is woven in a chevron pattern.
Plate 4, from "Oeuvre de Differens Genres"
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1780
Red crayon engraving on paper
Print

Cupid with dove on clouds. Two hens. tree. Left half of a frieze, with the bust of a girl as a central motif.
Ewer of Solid Silver made at Ispahan
Harry Fenn, American, 1845–1911, 1886
Pen and black ink on paperboard
Drawing

A ewer seen from the side.  The entire surface is covered with bands of floral ornament.
Decoration of the Bedroom in Palais Bourbon
Jacques Gabriel, 1667–1742, ca. 1727
Etching on paper
Print

View of a section of wall with two windows. The three panelings all with mirrors. Above two of them, paintings in frames composed of scrolls. The central one without a painting. Panels below mirrors decorated with small scroll design. Inscribed along upper margin: "Decoration du Lambris du coté des fenetres de la chambre à coucher du Palais Bourbon"; lower margin: "Les ornamens […] grandes glaces"; lower right: "Mariette Excu."
Fringe
, 19th century
cotton

Header of gauze with leaf and lozenge shapes. Loops underneath support groups of interlaced threads that terminate in large tassels.
The Printer
Joseph J. Gould, American, ca. 1876–after 1932, 1900
Pen and black ink, brush and watercolor on illustration board
Drawing

Three-quarter length figure of a man, turned toward the left, standing before a printing press. He holds a sheet of paper in his hands. In circular frame, with double-line enframement beyond, and square terminations containing fruit motifs.
Wig bag
, 18th century
silk

Flat black silk taffeta sack or bag, with wide flat top, and drawstring. Type of bag which was used for tail of wig to keep wig off collar.
Trimming
, 18th century
silk, silver metallic thread Technique: woven

Design of flowers placed alternately up and down with diagonal bands in between. On one edge, a border in an open weave forming scallops. In yellow and white with silver thread.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pen and brown ink with brown wash (iron gall ink)

Vertical rectangle. Juno, imploring Aeolus to destroy the Trojan ships. Upon clouds she has approached the wind god who is seated in his cave. She points at the ships shown in the left distance. The winds come from the right rear. Caption written in pencil, on top: Givnone prega Evolo per la rovina/ de troiani. Second row: the octagone at left: Venus petitions Jupiter the happiness of Aeneas. In the dome of heave Jupiter, seated, and Venus, standing, kissing each other, both pointing at Italy on a globe. Caption: venere bacia Giove e lo/ prega di far contento/ Enea. Right: Venus shows Carthage to Aeneas. The goddess walks beside Aeneas who is accompanied by Trojan. Mountainous landscape; trees swans. Caption: venere insegna cartagine/ a Enea. Third row: Aeneas and Achates contemplate the representation of the Trojan war in the temple of Juno in Carthage. Protected by clouds, both contemplate the representation in one of the reliefs: Priam in the tent of Achilles. Enena con Acatte nel tempio di/ giunone vede li fatti di Troia. Bottom: the wedding of Aeneas and Dido. They embrace each other, seated ???
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on paper
Drawing

A symmetrical design composed of a lyre as central motif, flanked by interlacing bands and lighted candles.
Frieze with two putti fleeing from an eagle
Hans Sebald Beham, German, 1500–1550, ca. 1544
Engraving on laid paper
Print

Horizontal rectangle. An eagle in the center of the composition, between two winged genii. The body of the eagle is turned to the right, his head to the left.
Fragment
, late 18th century
wool Technique: crewel wool embroidery

Fragment is quilted and embroidered with a design of green and red floral clusters on a white ground.
Sampler
Ann Cathrina Seiler, 1723
silk embroidery on linen foundation Technique: embroidered on plain weave

Flowers, trees, animals, birds, a ship and a scene showing Adam and Eve. Arms of the city of Hamburg.
Unterschiedlich Augspurgische Goldschmidts Arbeit, "Large Frame Design, Two Chairs and Wall Sconces", Plate 6
Abraham Drentwet, German, 1647 – 1727, 1721–40
Engraving
Print

Vertical rectangle. A large decorative frame, of scrolls, mascarons, swags, half-figures, a dolphin, and a bird. In the lower half, an armchair and a side chair, of different design, and a stool of alternative designs, also a wall shelf with urns and plates. In the upper half, a large wall sconce in the form of an escutcheon. Below, the artists' and publisher's names.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a flower with a scalloped edge. Partly in openwork. Several tiny superimposed rosettes.
Study of a Sparrow's Wing
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Wing outstretched to the right, with notes on structure and feathers.
Textile
, 1000–1400
cotton Technique: discontinuous supplementary weft in gauze; foundation: supp. wefts interface in plain weave on the paired gauze warps; ends: bands of plain weave at top and bottom

Border of stylized interlocking birds and frets, with top band of monkeys alternating with stepped diagonals, lower band of triangles and interlocking birds; darned or woven in heavy pale tan cotton with touches of brown and dark brown on tan ground darkening toward lower end. Two side selvages continuous with field; bunches of wefts across top.
Textile
, late 19th century
silk, gold paper on silk core Technique: plain compound twill

Panel of tan silk with figured design of bamboo branches in green, yellow, tan, blue silks, and gilt paper.
Textile
, late 17th century
silk, metallic yarns Technique: compound weave with supplementary weft patterning (brocaded)

Textile fragment with faded blue ground figured with pattern of ogee arches and clusters of three dots. Brocaded with design of large vertical zigzags outlined by minute ornaments in silver yarns and containing a large variety of flower forms in polychrome silks.  The zigzags are interrupted by undulating branches in silver thread.
The End, plate 20, from an unknown publication
, 18th century
Engraving on off-white laid paper
Print

Horizontal rectangle. ''The End.'' The word ''end'' made up of letters formed of Chinese and female figures in classic costume, with lanterns and incense lamps.
View of the Old City Hall, Wall Street
Hatch and Smillie, New York, NY, ca. 1830
Engraving in black ink on paper
Print

Old City Hall, New York is seen in perspective, its entrance at left. Figures in foreground.
Ribbon
, mid-19th century
silk Technique:

Grey ribbon with moiré stripe and picot edge.
Band
, 1800–1825
silk Technique: satin weave, twill weave

Continuous stripe pattern in yellow, tan and red on red ground showing symmetrical leaf clusters and rosettes in the Empire style.
Portion of border
, 17th century
linen Technique: bobbin lace, discontinuous tape

Border piece has one short side with two corners and parts of longer sides. Design of scrolling stem with leaves and flowers.
Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
tea service

1992-5-46: Footed bowl decorated with thin gilded bands. Inte...
"Caledonian"
Ridgway, Morley, Wear & Co., England, 1836 – 1842, mid-19th century
Earthenware, transfer-printed decoration
Plate

Red and white plate with "gingham" design around rim and a geometric design in center.
Album of Prints: Books One and Two of Vases Designed and Drawn by Mr. de St. G. and Engraved by Biance
St. G..., active 18th century, 1772-1777
Album

The album contains 2 suites of vases designed by Mr. de St. G. and engraved by Biance. Each suite contains 6 prints.
Model for a Pulpit
, ca. 1850
oak
model for a pulpit

Hexagonal pulpit model in the Gothic Style.
The Antikamnia Calendar, July and August, 1897: Expert Testimony
Louis Crusius, American, 1862 - 1898, 1896
Chromolithograph on paper with string binding
Calendar

July and August, 1897.
Interior of a Dressing Room with Tented Ceiling
François Etienne Villeret, French, ca. 1800 - 1866, 1848
Brush and gouache, watercolor, graphite on tan paper
Drawing

A dressing room interior whose walls and tented ceiling are covered in a delicate vine trellis-patterned textile. On dressing table at rear center, a porcelain pitcher and basin sit in front of a silver mirror in rococo-revival style, flanked by candelabra.  Pitchers and basins, possibly of Vincennes manufacture, on top of wash stand at right.  A table covered with lace cloth at left, holds toilet accessories; brushes, mirrors, pots, and covered jars.  A formal portrait on left wall might well be the owner of this opulent room.  Dried flowers encased in glass domes on either side of portrait.  A carpet divided into horizontal and octagonal fields holding neoclassical and neo-gothic motifs covers floor.
Design for a Round Oak Dining Table with Animal Paw Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Round molded top raised on support of 4 [three shown] clustered columns sitting atop carved molded base terminating in 4 carved and molded animal paw feet.
Bell Tower Model
, ca. 1880
Carved and turned pearwood

Bell tower model with spiral staircase
Palais
, 1865
Glass
Liqueur glass

Faceted cup on stem on octagonally faceted foot.
Multiplication table sampler
Margaret Logan Laight, American, 1799
silk embroidery on wool foundation Technique: embroidered in cross stitch on plain weave foundation Label: wool embroidered with silk in cross stitch

Multiplication table embroidered in green silk on an off-white wool ground, with the inscription: Margaret Logan Laight Oct 19 1799.
Salon Particulier de la Reine au Palais de Buckingham. (The Queen's Sitting Room at Buckingham Palace)
James Roberts, British, active France, ca. 1800–1867, August 1848
Brush and watercolor, gouache, gum Arabic, graphite on white wove watercolor paper Attached label: Brush and black ink, graphite, ruled lines over gold paint on cream paperboard
Drawing

An interior view of a salon, identified as Queen Victoria's private sitting room, shows a semicircular alcove at right and a fireplace at left. French windows, shaded by striped awnings, lead on to a balcony.  A sense of intimacy is conveyed by the slipcovered furniture, most prominently an English form of a tete-a-tete, viewed from behind, and a draped piano at lower right. The facing wall and that on the left are hung with portrait paintings in elaborate gilt frames. A central six-armed chandelier is suspended from the ceiling, which is coffered in an intricate interlace design. Tables, divans and chairs are arranged on a carpet patterned in green and gold ovals on a blue field. Various examples of objets d'art are visible: a gilt birdcage surmounted by a circular fishbowl in the alcove at right, numerous glass-covered figurines and classical marble busts. Especially touching is the cluster of children's toys.
Border
, late 18th century
linen Technique: needle lace

Border with a slightly scalloped border edged on one side by floral sprays.
Beaker and cover
, early 19th century
wood, turned, fruit wood

collapsible beaker
Dessert Spoon with Chameleon on Handle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form fern like leaf shaped handle, with terminal turning downwards. Chameleon applied as if perched at base of terminal, with tail wrapped and curled around stem. Chameleon tongue oustretched catching small applied fly.
Band
, 18th century (crossed out and marked 'L. C. Coast')
wool Technique: slit tapestry, use of non-horizontal wefts; long slits up the side are sewn together; warp selvage at one end of each fragment; sides: ragged, some intact

Narrow band in dark red, black and shades of brown and tan. Pattern shows intricate step design.
Sidewall - sample
, 1906–08
Machine-printed on ingrain paper

Cluster of red poppy flowers, set within dense foliage. Printed in shades of red on red ingrain paper.
Dish
, ca. 1820
Glass

Oblong, boat shape dish with flared sides and squared ends. Sides cut with band of alternating panels of fine diamonds and flutes. Fluted bottom. Inverted scallop rim.
goblet
, late 1700
lignum vitae or yew

treen
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

White scrolls and light gray-blue scrolling acanthus leaves with floral motifs alternate horizontally across the frieze. Between the lines of the scrolls and floral motifs are small dots and short lines that fill in the forms. Borders are printed two across the width. Printed in shades of gray, metallic gold and mica on a light yellow ground.
Sarong
, 18th–19th century
cotton, mica Technique: embroidered on plain weave

Festival sarong worn by women, of woven stripes in dark brown, coral, dark blue, and natural color. Ornamented with embroidery and pieces of mica attached in vertical rows.
Two urns and an ornamental detail
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Two urns at center and right. At left, an ornamental detail with leaf-like motifs.
Sleeve bands
, 19th century
silk Technique: embroidered

White silk gauze woven with a floral pattern is embroidered with a design of flowers, bamboo trees, butterflies, long-tailed birds, and herons in multi-colored silks.