biglam/cooper-hewitt-alt-text huggingface dataset:
Buttons
, 1830–48
Brass

Convex button with ornament of crowned anchor witin a plain and a rope border - on reverse, "G and Cie    M18 Paris" incised coat of arms.  Naval officer.

Component -a is on card F
Design for a Canopy Bed
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The bed is seen from the foot side. Two posts support the circular roof, on top of which stands a basket with flowers. Usual background.
Panama Rose, Ecuador or Panama
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on off-white wove paper
Drawing

Verso: Botanical sketches showing four views of trees in Ecuador or Panama. At left, a sketch of a plantain plant is visible beside three sketches of a tall, thin deciduous tree at center and right.

Recto: Botanical sketch showing a vertical view of a panama rose plant and details, located in Ecuador or Panama. At upper left, a detail of one of the plant's blossoms is shown next to a detail of its leaves, at upper right. A detailed view of the plant itself makes up the majority of the composition at center. Its long, narrow leaves and flower bunches are clearly delineated.
Blue Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Brush and oil, graphite on bright green paperboard
Drawing

Landscape sketch showing view overlooking the Blue Mountains in Jamaica. Succeeding ridges extend to the horizon and fade into purple silhouettes in the distance. Atmosphere hazily rendered. Above, an indistinct sky features dark clouds along upper margin.
Scattered Pines along Tone River (Tone-gawa, Barabara-matsu) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

This picturesque scene of fishermen casting nets provides the motif for a spectacular woodblock print. The right side shows a net in mid-flight with its border of led weights fanning out the trap. Other fishermen in the background are seen in various stages of hauling in their nets. Light green grasses complement the snarling dark pine trees in the middle of the print. The delicate embossed work, known as nunomezuri, on the white sail, is highlighted by the subtle hues of blues used in the water and the sky. These naturalistic details are similar to the work of Dutch genre painters who employed the technique called tour de force. At first glance, this simple palette may appear dull but encompasses an animated trawling scene.
Frame for a small devotional picture
Giuseppe Barberi, Italian, 1746–1809, 1773-1774
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Similarly framed as in -1385 but without a garland. The small inner frame is rectangular and is supported by three angels above two crossed palm branches. Two angels are flyinf above it, one of them with a paper scroll. A similar glory. Below are two angels with apparently a bowl with frankincense. An other one, farther up, seems to carry a censer. Usual background.
Palace with Fireworks
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, elevation of a two-story palace crowned by a balustrade with statues. Over central bay of balustrades, crowned shield of the House of Savoy with cipher in balustrade. In foreground, fountain basin with sculptural fountain figures, and bridge on which stand groups of human figures silhouetted in black and white. Foliage at right and left with tall trees. Above palace, representation of fireworks.
Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, red pencil on lined off-white laid paper
Drawing

Similar to 1938-88-1130. Top: the elevation of the central structure. The lower part is surrounded by a colonnade which is connected with the flanking ones which end with steeples. Above it rises the upper story and the pediment of a vestibule, containing the staircase. Bottom: Section through the central building, the vestibule, the portico, and the elevation of a colonnade, enclosing an atrium. Numbered "85".
Sidewall
, 1850–60
Machine-printed paper

All-over pattern of roses. Printed in greens, violets and black on unprimed ground.
Deer-Stalking in the Adirondacks in Winter, from Every Saturday, January 21, 1871, p. 57
Winslow Homer, American, 1836–1910, 1871
Wood engraving on off-white wove paper
Print

Horizontal view of a clear space in woods, with two men in foreground, centre and left centre, wearing snow-shoes and carrying rifles, moving toward antlered stag in middle distance, right, being attacked by dogs.
In a Wood
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1850
Graphite, brush and reddish-brown watercolor, brush and white gouache on paper
Drawing

A clearing is shown, and a ditch covered partly by a roof. A woman, laundering.
The Editor and the Giraffe
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story of an editor being frightened by a giraffe. Upper left, back of figure surprised with hair standing up, scissors in right hand. Upper right, giraffe head coming through a window, paper's in mouth. Lower left, figure diving head-first into a pitcher of ale.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and black ink and bistre, brush and watercolor on paper
Drawing

The opening is framed by a part of a frame. Laterally are pilaster strips, with oblongs with colored marble, and with baskets above. Above the inner frame is in the center an ovoidal medallion with Psyche and Cupid between two panels with colored marble. On top are cornices of an entablature. Base line. Cast shadow and slightly colored background. Below are the plans at left of the lateral parts, at right of the right half of the entablature. Below is the scale. Partso f a framing line are below.
Tile
, late 18th–early 19th century
earthenware

Woman in green blouse, manganese skirt and long shawl, laid over her head. A tree trunk with a few leaves at the left.
Design for Cresting of a Comb
, ca. 1810
Pen and brown ink, brush and watercolor on white laid paper, laid down
Drawing

Horizontal rectangle. Design for the cresting of a comb intended to be executed in gilded metal with diamonds and an engraved gem. In the center of an escutcheon formed by rinceaux, an engraved oval gem with the figure of Heracles resting upon his club. Nine comb tines are sketched in pen and ink below.
Standing Man with Raised Arms
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1635–1650
Black chalk, pen and ink on paper
Drawing

A standing man seen from behind, facing left. His arms are raised before him and his right foot rests on a block.
Jan Cornelis Sylvius, Preacher
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

Half-length portrait of the subject, who turns toward the left, looking out at the spectator, the head in three-quarter view.  His hands are crossed over an open book in front of him.
Fragment
, 14th century
linen Technique: block printed pigment on plain weave

Fragment of printed linen with a symmetrical design of foliate forms and flanking pairs of birds and gazelles, in green on a printed brown ground.
Gate Design
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Wrought iron gate design featuring a ‘Vitruvian' wave scroll pattern, roundels, ovals, and fleurons, with a central arched double door. The plate is numbered.
Design for an Oblong Plaster Ceiling
George Richardson, British, ca. 1736 - 1813, 1780–90
Brush and wash, black and gray chalk on paper
Drawing

Horizontal format design for an oblong plaster ceiling. Rosettes in the four corners. In the center is an ovoidal wreath formed by twigs within which are slopes formed by a garland. In the center is an urn, crossed, a thyrsus and a shepherd's staff. The field is a rectangle, with parts of rosettes in the corners and tangent oblongs outside. They are decorated with two empty oblongs, laterally, and with a frieze of intertwined circles and segments with rosettes. Below the scale; "Feet." Two framing lines.
Ornamental Frame Design
Louis Crépy, French, 1680?–1760, mid- 18th–late 18th century
Etching on laid paper
Print

Design for a frame decorated with flowers and scrolling acanthus leaves.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including a cornices, an aedicule, capitals, and vases. The plates are numbered but not signed.
Cornice (Ceiling) Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Detail of a cornice design for decorative ceilings featuring a military trophy in the corner and a cartouche with putti to the right. The trophy and cartouche include helmets, horns, spears, banners, flags, shields, feathers, quivers of arrows, roundel profile portrait, fleurons, foliate scrolls, scrolling leaves, crown of laurel leaves, palm leaves, mascaron (mask), shells, and festoon of leaves. The plate is signed.
Design for the elevation of a chimney wall of a salon
Jacques-Denis Antoine, French, 1733 – 1801, 1771
Pen and ink, brush and watercolor on white laid paper
Drawing

Two doors flank a fireplace, surmounted by a mirror between pilasters. The overdoors are arched with censors and flower garlands.
Wall Sconce Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a two-light wall sconce incorporating the head of the Greek and Roman god Hermes/Mercury wearing his winged helmet, caduceus, with foliate branches, scrolling leaves (rinceaux), festoon of flowers, baskets of flowers and fruit, fluting, and rosettes. The plate is signed and numbered.
Band fragment
, 14th century
silk, linen Technique: complementary weft 2/1 twill

Two incomplete motifs; one a fleur de lys, the other an eagle with outspread wings.
At the Base of the American Falls, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, 1856 or 1858
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of base of the American Falls portion of Niagara Falls. At left, water cascades vertically until it hits the water's surface and violently sends up a plume of whipping mist. In the foreground at lower right, a group of rugged boulders are washed over by the falling water. Below them, in the very lower right corner, a fragment of a rainbow is visible.
Croisée Drapée à l'Antique
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for window drapery split down the middle and held to the sides with tassels. The pediment is decorated with ornament motifs including palmettes and lamb tongue. The plate is signed and numbered.
Title Page
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design featuring vases, mascaron, garland, scrolls, baskets of flowers, and reclined female figures. At center is a plaque with faux-script. The page also serves as the title page of the series.
Two Frieze Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two details of frieze designs, one above the other, featuring a nude female figure, winged putti, fruit, ribbons, scrolling leaves (rinceaux), foliate scrolls, foliate branches, and a mask (mascaron).
Lit à la Chinoise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed with a canopy adorned with feathers, putti, and tassels. The drapery is bound, revealing the bedframe, carved with acanthus leaves and rosettes. The bedding is striped. The plate is signed.
Textile
, early 19th century
cotton Technique: printed on plain weave

Fragment shows a medallion surrounded by flowers. In medallion is a farm scene with a woman, two children, a cow, cat and dog.
Fragment
, 1750–99
silk Technique: plain weave with supplementary weft

Olive green satin ground. Broad ribbon-like white serpentine crossing another serpentine of rose and pink twisted ribbon.  Small building and colonnade, and trees in ribbon.  Floral sprays in other serpentine.  Large floral sprays branch out from serpentines. Brocading in ose, pin, yellow, green, brown, red white silks and peach frise silk.  Right sevage present.
Sampler
Ann Eliza Eyre, American, 1827
silk embroidery on linen foundation Technique: embroidered in cross, stem, and satin stitches on plain weave foundation

Male and female figures, trees, birds, and urns of flowers are symmetrically arranged on either side of a large house, with grass and domestic animals in front. A deep yellow rose border surrounds the sampler on three sides. In the upper half, a box framed by a smaller floral vine border contains a verse and inscription. 
The verse reads:
Jesus permit thy gracious name to stand
As the first efforts of a youthful hand
And while my fingers on the canvass move
Engage my tender heart to see thy love
With thy dear children let me have a part
And write thy name thyself upon my heart
Sampler
, 19th century
silk on linen Technique: cross stitch on plain weave foundation; withdrawn element work with overcasting (hemstitching) on three sides; counted stitches

Nine bands of geometric and floral patterns in bright colors.
Two Cow Heads, Plate no. 2 from the 12me Cahier d'etudes
Jean-Baptiste Huët, French, 1745–1811, ca. 1798
Etching on paper
Print

Two cow heads at progressive stages of completeness.
Design for a Mass-Operational House Designed by Hector Guimard, Scale Table for Supports and Floor
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the scale of the support and floor.
Photograph
Hector Guimard, French, 1867–1942, 
Photographic print on sensitized paper

A photograph of a chair designed by Hector Guimard, which has an ornamented back and is upholstered with fabric.
Jeanne d'Arc
Charles Abraham Chasselat, French, 1782–1843, 1817
cotton Technique: printed by engraved copper plate on plain weave
Textile

Cotton, plate-printed in red; six scenes from the life and martyrdom of Jeanne d'Arc.  Her march on Paris; her arrow wound being dressed; the capture of the Tourelles; Jeanne praying before the Shrine of St. Catherine; captured with her brothers and brought before Philip the Good; her burning at the stake in Rouen.

Scenes from the life of Joan of Arc: Joan as a young girl praying before the statue of St. Catherine, speaking to the Dauphin and asking for troops, taking the Tourelle at the Battle of Orleans, having her shoulder wound dressed, leading the Dauphin to his coronation at Reims, and being burned at the stake by the English.
I GENG ou Medecin Chinois
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese man seated in a landscape with an obelisk in the background. The plate is titled, signed, and numbered.
Sampler
Ann Peartree, American, 1722–1744, 1734
silk and metal-wrapped silk embroidery; paper and linen foundation Technique: embroidered in cross, herringbone, unequal herringbone, satin, stem, back, running, double running and chain stitches, couching over paper, detached loop and twist (needle lace), on plain weave foundation Label: linen, embroidered with silk in cross, herringbone, satin, stem, back, running, chain, couching, and detached looping stitches

Linen sampler, darkened with age, embroidered in blues, greens, yellow, white and pale pink silks. Serpent curving around apple tree with Adam and Eve at either side, surrounded by animals and flowers.  Inscription at bottom reads "Ann Peartree, Her work 1734."
Mise-en-carte for Textile, No. 8359
Robert M. Davidson, January 24, 1918
Brush and gouache, graphite on pre-printed graph paper
Drawing

Floral design of tulips, berries and stylized leaves.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. pink ground with bright pink and green
b. pink ground with bright pink and gold
Lamp
, ca. 1780
Tin

tallow, oil lamp on ajustable shaft.
Cup and Saucer, from a Napoleon III Table Service (Tasse et soucoupe, Service à Chiffre Doré de l'Empereur Napoléon III)
Sèvres Porcelain Manufactory, French, established 1756, 1849–1858
hard paste porcelain, gold
cup and saucer

Cup shallow, with flaring sides and circular handle with knobs. Saucer flat, with curved edges.
Textile
, 6th–8th century
wool, linen Technique: tapestry

Length of tapestry band. Pattern consists of vertical arrangement of figures on orange center band at right angles to the warp. Figures of a standing man in a tunic waving an object with left hand raised alternate with an equestrian figure. All figures are greatly foreshortened, "squashed down" and misshapen. Horses are alternately pink and green. Outer borders of band red with tapestry woven undyed spirals at edges against the red ground.
Textile
, mid-19th century
cotton Technique: printed by engraved roller on plain weave

Pattern of white flowers and green leaves forming bouquets, arranged in staggered rows, on a red ground. Outlines and shading in dark brown.
Fragment
, 18th century
linen Technique: bobbin lace

Binche-style fragment showing an open design of a curving ribbon-like ornament.
Plans for the New London Bridge
Benjamin Cole, British, active ca. 1748 - 1775, died 1783, 1746
Engraving on paper
Print

Two schemes for a new London Bridge are shown in elevation and half grund plan. Views separated by three double lines of explanation, together with the date.
Fragment
, 16th century
linen Technique: withdrawn element with needlemade filling stitches

Narrow insertion in a geometric design based on the square and diagonal. Small squares separated by heavy diagonal lines.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1815
Pen and brown ink with brown wash (iron gall ink) and traces of graphite

Vertical rectangle. Top row: two oblongs, left: two putti carry an open book. Written in pencil, on top: ''Genio delle Mvse;'' bottom: ''storia.'' Right: two children playing the lyre and lute, respectively. Written in pencil, on top: ''cennio delle muse,'' and ''Musica,'' respectively. Center row, left: the birth of Jupiter. The boy reclining upon a cushion drinks from the goat. Amalthea or Ista, the nymphs feeding the infant. The other one stands with a pitcher in the central distance. An eagle is behind the seated nymph. A satyr leads the goat. More nymphs are shown in the left rear. Written in pencil, on top: ''nas[c]ità di Giove.'' Right: the birth of Bacchus. Mercury brings the infant to the Nysaean nymphs shown at right. A given god at left, recumbent. Written in pencil, on top: ''Nas[c]ità di Bacco.'' Written in ink, bottom: center: ''nasita da/ pollo e di/ diana.'' Fates stand in the left rear. Written in pencil, on top:
Sketch for a Round Panel or Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Two classical figures, with female figure seated at right and male figure standing at left. Center, a statue of Mercury on a pedestal. Verso: two borders crossed out, in pen and black ink, crayon, and graphite.
Costume Design: Music for a Ballet
, ca. 1720
Lead pencil, pen and ink on paper
Drawing

Vertical rectangle. A woman is shown in three-quarter profile, turned toward right, and singing. She raises a hammer with her right hand, and carries in her left one a music sheet and writing pen.
Panel
, early 19th century
sil, metallic thread, sequins Technique: silk embroidery on silk foundation with appliqué

Panel of light blue silk, intended for a skirt, has an embroidered border in colored silks, metallic thread and sequins, and an appliqué of white net. Design of reversed S-curves supporting a heart-shaped frame with a lion masque at the center. Above frame are flower sprays. Narrow border below worked in gold. Above, in the body of the skirt, are detached flower sprigs in rose, blue and brown with metallic thread.
The War for the Union, 1862 – A Bayonet Charge
Winslow Homer, American, 1836–1910, July 12, 1862
Wood engraving in black ink on paper
Print

Double page illustration for Harper's Weekly. Union soldiers charge from the left, bayonettes pointed ahead, towards the battle, at right. At lower left, a Union offier is shown with sword drawn, his back to the observer.
Study of Figures for a Ceiling
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and violet watercolor, white gouache, graphite on cream laid paper
Drawing

Female figure bending and looking down to the left. In the center, the bust of a figure, also bending to the left. To the left, the head of a putto.
Band
, 19th century
linen Technique: bobbin made continuous tape with bars added

Band in a scroll pattern with bars added. 17th-century pattern, worked later and edged  with narrow pointed bobbin lace.
Panel
, 16th–17th century
linen, silk Technique: counted running stitches on plain weave

Oblong panel with end borders and narrow side borders worked in blue and red silk and edged with narrow scalloped fringe of the same silk. End border design has symmetrically paired dolphins on either side of vase-like forms. Background of dophins worked in blue. Other beasts and leaves are outlined in pink.
To One I Love
Thomas Stevens, English, 1828–1888, ca. 1870
silk Technique: jacquard woven
Bookmark

White ribbon with a bouquet of pansies at top and a cluster of roses at the bottom. Filling the space between is a passage in purple and brown text: "Emblem fair to you I send. Token of affection true, showing where my feeling tend like the magnet unto you. Worlds may pass away and perish, every feeling die away; but the constant love I cherish never, never shall decay." Finished at the bottom with a brown tassel.
Portrait of Gisbertus Masius, Bishop of Sylva
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta, moustache, and chin-whiskers; his cape is partly open, showing his episcopal cross. Below, his escutcheon and motto, and inscription.
Sampler
, 18th–19th century
cotton, silk Technique: embroidered using long-armed cross, back and stem stitches

Square of undyed cotton partially filled with sections of borders and designs, some suggestive of Renaissance symmetrical stylized plant borders and some fantastic geometrical symmetrial floral repeats. In faded multicolored silk and cotton floss.
Handscreen and case
, 19th century
Wood, enamel, mother-of-pearl

Wood, heavily covered with brown paint or enamel, modelled, incised with crude forms, inlaid also with mother-of-pearl bird, animal and other forms and having two cut-out areas with radiating wires set in; orange cord and tassel pendant. With case.
Sketch of a Female Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Female figure with drapery over her thighs, facing right. Limbs drawn in alternate positions. Her left arm over her head; the right arm over her head, or on her hip. Right leg shown straight, or bent at knee.
Fragment
, 18th century
cotton Technique: block printed by resist (applied in two separate sessions) on plain weave then immersion dyed in indigo

Fragment of white cotton printed in two shades of blue in an incomplete design of a bird in foliage and a large leaf with flower head.
Wood engraving. Vignette.
, 1820–35
Engraving and etching

A seated woman raising a chalice with Host in her right hand. The cross leans against her left arm. An anchor lies at left.
Fragment
, 18th century
silk, jute Technique: counted stitch embroidery

Fragment of flame stitch embroidery in silk on jute ground. Worked in shades of pink, blue, yellow, tan, and white.
Sketches of Figures
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Possibly studies for a mural. Below, two figures with an hour glass. Verso: Notes, upper right--symbols: "globe, tripod, telescope, owl."
Ornament, Christmas tree
, 1850–99
Sugar

A) Brownish strawberries with green leaves. (B) Same without stem.