biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of cut and uncut blue pile in a ground shot with silver; pattern has small flowers and sprigs.
A Shocking Young Lady Indeed – (Proof)
John Leech, English, 1817 - 1864, 1865
Chromolithograph on paper, mounted on heavy paper
Chromolithograph

Lower left, a boy picking up kindling. Beside him, a girl shaping a black three-dimensional head. Right, a girl with an armful of wood, and a man. A greenhouse beyond. Title and comment. Artist's and publisher's names and date below.
Cotton Prints Samples
, 1840s
paper, cotton Technique: printed
Sample book

Blue cloth bound volume of 574 numbered samples of printed cottons. Title page has three book plates. Book title: "Cotton Prints Samples." Largely small patterns of plaids, florals and stripes of many colors.
Baby's cap
, 19th century
linen, glass beads Technique: beaded knitting

Baby's cap decorated with gold beads on the crown in a stylized floral form with lines of gold beads radiating toward a beaded floral border of red and yellow roses with small blue flowers.
Case
, early 18th century
Wood, leather, gilding

1985-103-283-a: Bottom of large conical case for six implements, w...;     1985-103-283-b: Top of cylindrical shape lid which slides partly o...;     1985-103-283-c: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-d: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-e: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-f: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-g: Sabre-shaped blade, the shoulder etched and gilded...;     1985-103-283-h: Sabre-shaped blade, the shoulder etched and gilded...
Pair of anklets
, probably 19th century
Silver

Pair of silver anklets. Five cartridge shapes, with decorative balls, on cord.
Design for a Vase
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Shaped like a vase, depicting yellow roses and thorns with white flowers and green and yellow leaves with a partial mountain in the background, against a yellowing sky. Above gold garlands hang (unfinished). Gold rim below.
Toni Hildprant's Room
, August 19, 1843
Brush and watercolor on paper
Drawing

Interior view of a room with windows, furnished with wooden chest, tables, chairs, and shelving. A woman sit, crocheting, on a couch on the left.
Wooded Shore with Stream and Distant Hills
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

At left, in foreground and extending back, a small river or stream. In distance at end of water, distant hills. On right bank, in foreground, two large trees and a rock, with additional trees farther back. On left bank in middleground and background, additional trees.
Portrait of Florence Johnson
James Henry Moser, Canadian, 1854–1913, May 8, 1883
Graphite on paper
Drawing

Young girl sitting formally in profile in a folding chair, facing left, with her hands in her lap.
Mihrab Tile
, 13th century
Glazed, modeled and lustered stonepaste with underglaze and underpaint decoration

Horizontal rectangle.  Raised blue inscription on brown and white scrolled lustre-painted ground with turquoise spots.
Band
, 19th century
linen Technique: bobbin lace

Narrow band of lace worked in a provincial style with a pattern of small blossoms.
Sarong
, 19th century
cotton, mica Technique: embroidered on plain weave

Woven striped sarong in brown, light brown, cream-white, and blue. Embroidered in an all-over pattern of alternating geometric, organic patterned, and plain stripes with mica pieces added.
Standing figure with palm facing up
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing figure in heavy robes holds left hand out, palm facing upward, and holds robes with right hand. A sketch of something indeterminate on his right shoulder.
St. Balbina from St. Peter's colonnade
Giovanni Maria de Rossi, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Giovanni Maria de Rossi of St. Balbina on the North Colonnade of St. Peter's. She pulls her robes to the right, across her body. She looks to her left. There is a narrow scarf around her neck.
Sketchbook of twenty-one leaves of pencil drawings
Bessie Beebe, 1885–86
Soft pencil on white paper
Sketchbook

Horizontal rectangle. Sketchbook of twenty-one leaves, bound in tan linen boards, showing pencil drawings, academic studies of still-life, furniture and figures. Executed in Cooper Union Women's Art School. The fly-leaf bears the following inscription: "Bessie Beebe/ 123 Livingston St. / Brooklyn, N.Y. / Cooper Art School, November, 1885."
Epergne
, 18th century
Glass, brass, metal

Tall central shaft, facet-cut, on a domed base with shaped rim; double ogee bowl on top; 2 rings of 4 branches from which hang 8 small dishes/baskets with flat bottoms, flared sides and shaped rims; cutting on base, top bowl and small dishes of flat geometric design.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ungrounded

Framework of floral swags connected at end points by bouquets of flowers.
You Don't Like My Love Stories, Dear, so I Shall Not Write Any More
Howard Chandler Christy, American, 1872 - 1952, 1900
Ink on paper
Print

Trial proof for illustration. A young bearded man stands embracing a young lady, her back turned toward the spectator.
Christ before Annas, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Annas is seated beneath a canopy in the background, upper right. Christ is being led toward him from the left, his hands bound behind his back. Monogram of Dürer, lower right.
Textile
, ca. 1812
cotton Technique: relief printed on plain weave, blue applied by brush

Exotic pink flowers on thick tree-like branches on a yellow background.
Sidewall
, 1905–1915
Machine-printed paper

Floral stripe design. Bouquet of three carnations separated by double band of small floral motif. Printed in red, white and green on green striped background.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of landscape with a building surrounded by trees.
Scenic Chinese export
, ca. 1850
Hand painted on paper
Sidewall

Flowering plants and branches rise against a pale pink sky from a ground having conventionalized vegetation; flowers are white, red, purple, and orange.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small foral bouquets connected by foliate scrolls and floral swag. background has thin brown lines and white mica moires. Tan ground. Printed in pinks, greens, yellow, light blue, cream and light brown. Printed in right selvedge: "S.A. Maxwell & Co. New York & Chicago" Pattern number "2234" "MB". Printed in left selvedge: "12 Exclusive Design"
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

White floral bouquet amidst scrolling foliage. Band of small stylized flowers along top and scrolling foliage along bottom edge. Background shades from light tan at top to blue at bottom.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Floral design, purple and black, upper portion, tan ground with white vines, lower portion, white ground with tan vines.
Sampler
, 19th century
wool and silk embroidery on cotton foundation Technique: embroidered in satin, cross, and half cross stitches on plain weave foundation

Brightly colored motifs with letters and numerals on the bottom.
Border
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed oatmeal paper

Two borders printed across the width. Stylized tupid motif within a circle which then becomes part of a larger floral motif. Row of smaller tulips below. Heavy brown band at the bottom of design.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1875–1900
Block-printed and embossed

Stylized red posie in white oval, surrounded by laurel crest. Printed in greens, ocher, coral, gilt white and red on greenish off-white ground.
Sidewall
, 1875–1906
Block-printed

Wallpaper roll.
Parallel lines of gold containing single row of small marble-like objects. Marble colors alternate between red and yellow.
Border
, ca. 1600
linen Technique: grid of laid cords with needle lace (reticella style)

Squares filled with an alternating design of human forms and abstract motifs. Pattern interspersed by portes and connected by brides.
Woman's short robe
, 19th century
silk Technique: embroidered in satin stitches on satin weave

Short coat of dark blue silk satin, embroidered with clusters of flowers and butterflies in multicolored silks. Neckband, sleeve bands and bottom border are of white satin with floral embroidery, edged with black satin. Lined with pale orange silk.
Sampler
, 19th century
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

An unfinished sampler with three alphabets, numerals, and an incomplete verse, with a wide floral border on three sides. Embroidered in colored silks on a white ground; the colors have run. 
The verse reads: 
There is a world where souls are free
Where tyrants taint not natures bliss
Ornament Designs
Pierre Gandin, French, active 15??-16??, early 17th century
Etching on paper
Print

Plate with ornament or jewelry patterns in silhouette featuring c-scrolls, dots, and fleurons. The plate is numbered and signed.
Mustard Pot, Lantern, Salt Cellar
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Designs for a mustard pot, hanging lantern, and salt cellar. The objects are decorated with ornament motifs including mascaron, garland, wave pattern, branches, pinecone, tassels, bead course, lancet leaves, drapery, guilloche. The plate is numbered.
Royal tent
Giuseppe Barberi, Italian, 1746–1809, 1775–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The two wings beside the post at the entrance are raised. Visible inside, at left, part of a throne, at right, a pedestal upon which indistinct objects lie. At left parts of two other tends. The right half is only partly sketched.
Specimen Chest
, ca. 1690
wood
Chest

Spice Box
Design for a Wall Panel
Pierre Ranson, French, 1736–1786, ca. 1770
Pen and ink, brush and watercolor, sepia on paper
Drawing

Elevation of a wall panel with candelabrum. The upper wall shows a motif centered on a vase; the dado shows a wreath and bow knot. The entablature shows a frieze of wreaths.
Embroidery sample
, 1790–1800
silk, paper Technique: embroidered in satin, stem and knot stitches on warp-faced plain weave; in paper envelope

Paper envelope with manufacturer's embroidery sample pasted inside. Silk embroidery in a stylized floral design rendered in green, red, pink, yellow, and white on blue silk ground.
Title Page
Louis-Gustave Taraval, French, 1738 – 1794, 1768–75
Etching on paper
Print

Title page for a series of designs for exterior porticos featuring Neoclassical motifs associated with the classical architectural orders of ancient Greece and Rome. The title of the series is lettered in a cartouche or plaque above the arched pediment of a portico. The pediment features the French coat of arms flanked by spears with flags. The pediment is supported by four rusticated tuscan columns. The overdoor is decorated with a sculpted draped textile and a portrait bust. The plate is titled below the image and numbered, along with the publisher's address.
Christ Preaching ("La Petite Tomb")
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1657
Etching on paper
Print

Christ stands on an elevation, slightly to left of center of composition, in the middleground. In the foreground, left and right, groups of seated and standing figures, listening to Christ, who raises both his arms in gesture of speaking.
Studies of a Child’s Head, Feet, and Arm
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of a young child's head, arm, leg and two feet from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered.
Design for a Pitcher
, 1701–50
Graphite, pen and bistre on paper
Drawing

Below is a round base; the shaft is an inverted calyx. The lower part of the body is a circular leaf calyx, above which rises a kind of inverse umbrella half opened. Each side has a framed panel with rinceau. The handle is at right; it is formed by scrolls.
Soffits and Vases, Plate 6 from "Cahier de Trophées, Soffites et Vases," Parte IX, Cahier I
Richard de Lalonde, French, active 1780–96, ca. 1780
Engraving on paper
Print

Four soffits dedicated to Tragedy, Juno, Jupiter, and hymen, with respective attributes, and two vases, one with ram's heads. From "Cahier de Trophéesm Soffites et Vases," parte IX, cahier I, planche 6.
Catskill Creek, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 1844
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view overlooking Catskill Creek and its environs in the town of Catskill, New York. In the foreground at right, the river curves around wooded banks and is increasingly obscured by trees and terrain as it winds into the landscape. In the middle distance at center left, two structures in a fenced-in pasture are showing along the creek's wooded left bank. Beyond, rolling terrain extends into the background, where the outline of the Catskill Escarpment forms the horizon. 

Verso: Incomplete figure sketch of an individual facing the viewer. Only their hair, part of their face, and left shoulder are rendered.
Bag
, 19th century
silk on linen, mirrored glass Technique: ladder, buttonhole, surface, stem and satin stitch embroidery on plain weave

Red linen drawstring bag with a blue silk lining and white tassel at the bottom. Embroidered in the center with a design of stylized flowers and leaves. Narrow borders on the sides enclose circular disks with embroidered borders. Mirrored glass accents.
PLATS ROND
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Four designs for round serving dishes with Empire style motifs. The plates are displayed overlapping, each with decoration in the center and decorative borders along the rims, featuring birds, fish, friezes with figures and ornament, stars, rosettes, leaves, fleurons, foliate scrolls, vine leaves, grapes, deer heads, fruit, and snakes. The plate is titled, signed, and numbered.
Les fins Chasseurs
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Print

Part of a set of bound prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two monkeys in human costume. At left, standing behind the figure at right, is a monkey wearing a feathered cap and tunic. He holds a long thin tube to his lips that he is using as a blow gun to shoot pellets at a bird in flight at upper right. To his right, a monkey on one knee holds a crisscrossing contraption to trap the bird in the air. He looks up at the bird with his mouth open and tongue hanging out. Indication of tree stump in background.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Trophy ornament design incorporating flowers, foliate branches, fruit, vegetables, basket, wheat, watering jug, and a well pulley and bucket. The plate is numbered and signed.
Goatherds in Landscape with Ruins
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1770
Aquatint in brick-red ink on paper
Print

Landscape with ruined arcade and other structures. In the foreground, a goatherd and woman spinning in conversation. Sheep and goats graze. Another figure and dog approach from the right.
Ornamental Vase Design
Jacques-Philippe de Beauvais, French, 1739 – 1781, 1760-1764
Etching on laid paper
Print

Vase with narrow mouth and two ring handles. The vase is decorated with rosettes set with triangular coffering, gadrooning, laurel leaves, and garlands. At the center of the vase is a Roman imperial profile portrait. The vase is elevated on a simple, low plinth. The plate is signed and numbered, but the signature is partially burnished out; one can just barely see "Beauvais inv s".
Group of figures
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a group of figures.
New York Charities - St. Barnabas House, 304 Mulberry Street
Winslow Homer, American, 1836–1910, April 18, 1874
Wood engraving printed in black ink on paper
Print

Horizontal rectangle containting four vignettes: Upper left shows two young women, with one knocking at door marked: "St. Barnabas"; upper center shows a woman wearing a cap and apron, and holding a key, framed by a doorway; upper right shows three women; and the lower shows a room with young women seated in groups, some about a center table.
Soffit and Vase Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four square soffit and two vase designs. The soffit on the upper left of the plate is labeled "Mercure" underneath, and features a Caduceus in the center and rosettes in the corner. The soffit on the lower left is labeled "Amour," and has a bow and arrow in the center, and helmets and wreathes in the corners. The soffit in the upper right of the plate is labeled "Pan," and has a thyrsus and pan pipe in the center, and wreathes in the corner. The soffit in the lower right is labeled "Diane" and has a trophy with crescent moons in the center and acanthus leaves in the corners. The two vases are in the center of the plate. The top vase is a pitcher with a scrolling handle. The lower vase has flowers and fruits emerging from the top. The plate is signed and numbered.
Two Cupids Kissing
Tommaso Todeschini, Italian, 1750–90
Pen and brown, black ink on white laid paper, mounted on heavy white laid paper
Drawing

A male and female cupid in the form of a sculpted group. The female sits upon a stone on which the male cupid kneels on his left leg.
Sampler
Alls Tanner, English, 1703
wool embroidery on wool foundation Technique: cross, montenegrin cross, eyelet, and double running stitches

Made by the maker of 1941-69-60. Here the name is spelt 'Alse'. Cross borders with ornament, alphabet and verse.
Scent flask
, 19th century
Glass, gold mounts

Bottle is cylindrical shape with glass wall in center dividing its length into two compartments. Wide, gold metal bands at each end, hinged to wider gold bands which hold piece of ruby glass with flattened spherical ends extending beyond, the two metal parts hinged to form covers with spring catcheds. Wad of chamois in each compartment
Decorative Monogram Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for six decorative monograms (letters), comprised of one or two letters featuring floral motifs, foliate scrolls, leaves, fur or pelt, flowers, beads, ribbons, and succulents. The plate is numbered.
Plate
, 1865
Enameled tôle

Flat center, convex marly. Neutral yellow field, with deep border of transfer-printed currant vine on trellis, and center medallion, also transfer-printed, of horses and riders.
Studies: Two heads of children
Mauro Gandolfi, Italian, 1764–1834, late 18th century
Red crayon on paper
Drawing

Vertical rectangle.  Top: Shown, from the left front, lowered.  Bottom: show from right, raised.
Dead and Broken Tree
Frederic Edwin Church, American, 1826–1900, 1851–1881
Graphite and oxidizing white gouache on light brown wove paper
Drawing

Botanical and landscape sketch showing a view of a dead tree that has broken mid-way up its trunk, visible at right, while its collapsed upper boughs rest on the ground at center and left. A small sapling grows beside the dead trunk at right, while other, loosely-rendered vegetation covers the forest floor.
Chimborazo, from the House of Senior Pablo Bustamante, Riobamba, Ecuador
Frederic Edwin Church, American, 1826–1900, July 14, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the snow-capped Chimborazo from the house of Pablo Bustamante in Riobamba, Ecuador. In the foreground, a portion of a church is visible at lower right and faces a range of rolling hills in the middle distance at center and left. Dominating the composition in the background at left, the immense snow-capped summit of Chimborazo looms over the scene with numerous ridges and snow fields clearly delineated. At far right, a portion of another distant mountain is visible.
Coffeepot with Urn Pattern
Fürstenberg Porcelain Manufactory, German, established 1747, 1780–1800
hard paste porcelain, vitreous enamel, gold
coffeepot

Tall, cylindrical; slightly outcurved spout; rectangular handle, slightly domed cover with pineapple finial.  Decoration, in pale colors, of an urn with foliate rinceaux, and bands of foliage in color and gilding.  Bottom unglazed.
A Little Daylight Left, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Atmosphere sketch showing a view of the sky over Jamaica at twilight with a crescent moon. In lower portion, an outline of a mountain ridge is visible. Throughout composition, clouds of various types intermingle in the darkening sky, with a large, billowing cloud notably visible at left. A crescent moon and its glow are visible at upper center.
Plate, from the series Ornamenti o grottesche (Ornaments or Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on off-white laid paper
Print

Curling and spiraling leaves form a support for two goats who gnaw on the smaller leaves. The head of a third goat is visible at bottom.
Buffet avec armoire et tiroir pour serrer la vaiselle; Buffet de menuiserie peinte en marbre
Jean Mariette, French, 1660–1742, 1686-1710
Etching and engraving on paper
Print

The plate is divided by two sideboard designs. On the left, the sideboard features open doors, the panels of which are ornamented with wood carving. The back of the sideboard has a lozenge pattern filled with rosettes, and an attached vase filled with flowers. The right-side design features a wall of shelves filled with various vases, a clock at the top, and a console table in front. On either side of the inset cupboard are fountains attached to side panels: on the left, a putto with a raise sword sitting on a vase with water spilling from a mascaron at the vase's center; on the right, the water emerges from a mascaron.  The plate is not signed, but is numbered.
Button
, late 19th century

On card 58
Design for a Fountain
Unknown, Italian, 1650–1700
Pen and brown ink, brush and wash, graphite on paper
Drawing

Pluto abducting Proserpine and a putto driving Cerberus with a trident are on top of a rock, out of which flames lick.
Decorative Design for the Stern of a Ship
, ca. 1705
Black chalk, brush and grey wash on paper
Drawing

The stern of a ship featuring two rectangular central windows and decorated with an English coat of arms used by the Stuarts, the initial D, and sculptural figures including men on horseback, putti, and classical imagery including Poseidon.  Directly above the stern are two circular lamps.  The port of the ship to the left of the stern has minimal exterior decoration except for a window flanked by two putti holding a crown.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punched engraving, pen and black ink, graphite on off-white laid paper
Print

Interlaced scrollwork with additional flowers surround a cluster of grapes at center.