biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
C. Widmer, 1820 – 1822, 1820
cotton Technique: block printed in red on a plain weave foundation that had been dyed gold. A mark where the fabric was secured from the gold dye bath is at both of the lower corners. Woven with one band of heavier weft at the bottom of the fabric.

Red circular rosettes on a strong yellow ground. Mark at one end.
Sketchbook Page: Baby's Face
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a baby's face, looking towards the right.
Sketchbook Page: Oak Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of an oak leaf.
caster
, ca. 1820–30
glass

Ovoid body deeply cut in overall horizontal-vertical grid pattern. The raised squares alternate plain and tiny diamonds. Flat diamond cut tops with pierced wholes. Stepped at bottom to domed base edged in diamond cut band containage corked hole within it.
Purse
, 1821
linen, silk, glass and ceramic beads, metal findings Technique: embroidered with beads

Large purse of linen embroidered overall with gray beads with floral designs in many colors in teh corners. Silver clasp inscribed Aus Vaterlichen Liebe Zum Andenken 1821 (With fatherly love, souvenir of 1821). The bag is not lined, revealing the many colored silk threads used to attach the beads to the linen ground.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

On a vertically striped ground in tan and brown, pattern of red roses and stems inside shape of hand mirror, scroll-like decoration. Medallion stripe pattern.
Vase
Mary Chase Perry, 1909–15
Glazed earthenware

Buff clay body, thrown.  Ovoid body with incurving neck and molded rim; no foot.  Allover thick blue-green high glaze with striations of yellow-green.  Gold and purple luster iridescence at shoulder and neck.  Interior glazed.  Slight clazing to glaze.  Glaze very thick on bottom.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

White mica moire on a white ground.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Very stylized floral motif. Main motif contains six roses and foliage. This alternates with a smaller rose and foliage motif. Printed in shades of brown, tan, and green on tan ground.
Frieze
, 1906–1907
Machine-printed paper

Crown frieze with red roses and floral swags, set within blue niche.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Floral bouquets above floral swags; bands of beading. Two borders printed across the width.
Futagawa Teahouse, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Left, teahouse with sign at which one traveler has just arrived. Center, three musicians pass towards teahouse. Beyond is slope with pine trees and flat fields dotted with pines.
Textile
, 1800–1850
cotton Technique: relief printed and glazed

Chintz fragments in a pillar design. Green-blue ground and pillar in shaded brown stripe effect with foliage and large flower clusters in shades of red, rose, yellow and green. Green color is produced by printing blue over yellow.
Embroidered picture
, 1650–1700
silk and metal wrapped silk on linen Technique: tent, couching, padded couching, stem and knotting on plain weave linen canvas. Counted stitches.

Abraham and the three angels showing the angels announcing to Abraham that Sarah will bear a son in her old age, while Sarah laughs derisively from the doorway of the tent.  Source for Abraham and the angels: Engraving by Gerard de Jode (1521-1591) after Martin de Vos (1531-1603).  Thesarus sacrarum historiae vereris testament: Antwerp 1585.  A rockery, pool with fishes, dog, stag, birds, sun and distant castle are also included.
Sampler
, 1739
linen and silk embroidery on cotton foundation Technique: embroidered in satin, chain, cross, stem, and button hole stitches with deflected element work on plain weave foundation

Thirty-five squares of patterns at top; bands of pattern at bottom.
Design for an Octagonal Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Decoration for octagonal plate with deep blue-black border covered partially with gold zigzag triangle motif. Inside is a wreath of pink and purple flowers connected by green leafy vines.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Art nouveau or mission design with repeating motif of stylized tulips. Printed in tans, browns and greens on a backgound that shades from olive green to tan at top.
Camassia Esculenta, Plate 60 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Camassia Esculenta" from A. C. Van Eeden's "Flora of Haarlem."
Wooded Countryside with Possible Structures
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Wooded landscape view. At left, starting in foreground and extending back, large, full trees. Additional trees at right in middleground and farther back in distance. In far distance, at center on horizon, possible structures.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Left, gothic window. Right, turret joining two buildings on either side. Various windows, left figure looking out of window, arched doorway below.
Embroidered picture
, ca. 1815
silk embroidery on silk foundation with linen lining Technique: embroidered in long floating running stitches on plain weave

Basket of strawberries, wheat and flowers on a square pedestal in several colors. Gilded wood frame.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style)

Border of square compartments filled with stylized floral and foliated forms in an alternating pattern. Connected by brides and interspersed by portes.
Cup and saucer
, 18th century
Blown and enameled blue milk glass

Light blue opaque glass with painted decoration of white and yellow ivy border.
The Wine Glass
James McNeill Whistler, American, 1834–1903, 1859
Etching on paper
Print

A champagne glass stands on a small pie-crust salver.
Vase (Plate 2 of a Series)
Enea Vico, Italian, 1523–1567, 1543
Black ink on paper
Print

Vertical rectangle. Covered urn with two handles composed of hair from mascarons. Garlands and swags on the body. Inscribed below: "ROMAE AB ANTIQVO REPERTVM MD XXXXIII" and "A.E.V." on a tablet.
Woman in Barrel Smoking
, ca. 1895
Silver
Matchsafe

In the form of a wooden barrel, with simulated wood grain; the head of woman smoking is seen in relief through jagged edged, open reserve in center. Upper part of barrel hinged on left. Striker on bottom.
Sidewall
, 1840–60
Block-printed on handmade paper

Flower and leaf pattern printed in strong green, gray and black on white ground.
Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and gouache, graphite on white wove paper laid down on white wove paper
Drawing

Central geometric motif with "RAA" monogram at center.
Commode Chair
Noël J Baudin, French, 1719 - 1784, ca. 1750
fruitwood, cane, leather, tin-glazed earthenware
chair

a) Carved fruitwood bidet with caned back, four cabriole legs, back ones having rocaille ornament at foot, front ones with small scrolls at foot; leather covered hinged lid at top of back support concealing three compartments. b) hinged, double caned seat concealing (c) removable faience bowl with blue floral sprays and border on blue-white glaze.
Border
, 1790–1820
Block printed on paper

Band of pearl dentils, white blossoms on a white molding on a turquoise background with anthemia in black.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1875–1900
Block-printed and flocked paper

Brocade design with floral motifs, including cross-hatching and strapwork. Appears to be a two-process flock design printed in red on a deep red ground.
Band
, 17th century
linen Technique: needlework on gauze weave

Narrow band with a pattern of white roosters and symmetrical plants on white gauze weave.
Dado
, 1800–1850
Block printed on handmade paper

Set between two pilasters, inset panel with two putti on either side of central pedestal with urn. Printed in grisaille.

H# 642
African Golden Oriole, Plate 1 of Birds of Western Africa, Vol. VIII
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A yellow bird with partially black wings and tail perched on a branch. River and mountains beyond. Title and artist's names below.
Sidewall
, 1800–1850
Block-printed on paper

Set within white diaper framework, simple leaf motif, in white, overtop black circular form, printed on dark olive green ground.
Jan Uytenbogaert, Preacher
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1635
Etching on cream laid paper
Print

Set in an oval enframement the preacher of the sect of Arminian Remonstrants, is seen seated in his study, facing one-quarter to the right. Below is a Latin inscription.
Elevation of a Bedroom Wall
Frederick Crace, English, 1779–1859, 1815–22
Graphite, pen and black ink, brush and watercolor on wove paper
Drawing

Horizontal rectangle. Wall elevation with recessed bed center, coffered ceiling.
Sketch of Choppy Ocean
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Sketch of ocean with choppy, white-capped waves breaking in center, near horizon.
Bowl
, 1st–3rd century
Glass, metal

fragment of yellow green glass
A) Elongated body tapering off, toward rounded bottom. Neck rising from body and terminating  in irregularly rounded lip. Pontil [?] mark on bottom.
B) Medal stand with three curved legs.
Rough Sketch of Connanicut Island and Fort Adam
William Trost Richards, American, 1833–1905, 1890–1900
Graphite on off-white wove paper
Sketchbook folio

Rough study of two mountains, one in center foreground, second in distance with large peak in left-center.
Sidewall
, 1880–90
Machine-printed on machine-made paper

All-over floral and foliate pattern, in Aesthetic style. Scrolling leaves and flowers, printed in burgundy and browns, printed over metallic gold grid on white ground.
The Knight and the Landsquenet
Albrecht Dürer, German, 1471–1528, ca. 1497
Woodcut on paper
Print

A man on horseback moves at a gallop toward the left. He is followed by a halberdier, running on foot. Landscape, castle, in background.
A Pair of Wine Coasters
, ca. 1810
silver, copper, wood
wine coaster

1986-61-8: Round with low straight sides, horizontal rim top ...;     1986-61-9: Round with low straight sides, horizontal rim top ...
Band fragment
, 4th–5th century
warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique:slit tapestry with supplementary weft wrapping

Scrolling leaves froming circles containing animals.
Excerpt from The White Tigress from Illustrations for Short Stories: A Magazine of Fact and Fiction (XIX, No. 1, May 1895, p. 5, 6)
Frederick Stuart Church, American, 1842–1924, 1895
Printed in black ink on paper
Ephemera

Excerpt from a short story of a man meeting a Russian ivory carver who then tells the story of the inspiration and creation of a sculpture the narrator was interested in. Page 5 has an illustration of a white tiger in a collar.
West Point from Castle Rock, Part Two
Frederic Edwin Church, American, 1826–1900, 1882 - 1885
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of West Point and the Hudson River from the estate of railroad tycoon William H. Osborn, called Castle Rock, in Garrison, New York. In the foreground, the river is shown beyond a nearby wooded shoreline and curves around the jutting peninusla upon which West Point is situated. Various buildings of the military academy are shown at left. Beyond, the cliffs of Target Point and Storm King Mountain steeply descend into the river at left. Sailboats travel along the river as it extends into the background, where an undulating mountain range forms a distant horizon.
Rugged Coastline, Mexico
Frederic Edwin Church, American, 1826–1900, probably 1890–93
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a walled village atop a mountain or cliff along a rugged coastline in Mexico. In the foreground at left, multiple buildings are loosely rendered within a circular, walled enclosure atop a rugged prominence with a rocky, craggy slope at lower right. In the middle distance at right, a sailboat with two masts is reflected in the sea or lake waters around it, which extend into the background and comprise the right portion of the scene. At left, a mountain range with several sharp peaks extends from the middle distance to the background.

Verso: Landscape sketch showing a view of a curving, mountainous coastline in Mexico. In the foreground at lower center, a sailboat is shown within a hook-shaped harbor or breakwater. Beside it, the heavily wooded shore rises to a rounded hill at center right. In the background at right, a tall, sharp peak is part of a range that extends to two other, sharp peaks in the background at left. Dominating the left side of the composition is the surface of the sea or lake, which has a dramatically curving coastline at right.
Stage Design for the Interior of a Gothic Palace
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

View into big hall of Gothic palace through three Gothic arches on columns.
Galerie métallique des grands hommes français (Great Men of France)
Ursines-Jules Vatinelle, French, 1798 - 1826, 1822
Cast bronze
Medal

Bust of Philippe de Commines (1447-1511).
"Old Soaker" off Great Head, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, July–September 1850
Brush and oil, graphite on cardboard
Drawing

Landscape and seascape sketch showing a view of the small island known as "Old Soaker" from the coast of Maine's Mt. Desert Island at Great Head. In foreground, waves break against the rocky shoreline and create white foam. Red, brick colored ground visible in unfinished lower right corner and lower margin. Old Soaker visible in the middle distance at left across rippling water that becomes calm near the horizon. A grayish, blue-green sky makes up the top portion of the composition.
Design for a Doorcase for the Center of a Façade in the Main Floor
Filippo Marchionni, Italian, 1732–1805, 1740–50
Graphite on laid paper
Drawing

Vertical rectangle. The right side is not entirely finished. At the bottom are the pedestals of the pilaster strips and the embedded columns that support the pediment and a balustrade. The overdoor shows a decorated bracket between festoons with broken pediment. A papal escutcheon stands in the center with hanging garlands. Genii, blowing trumpets, sit upon the corners. At bottom, section of the floor frame; outlines of a sheet of paper, held by a flying figure.
Designs for Firearms Ornament and Fittings
Claude Simonin, French, ca. 1635 – 1721, 1705
Engraving on laid paper
Print

Plate seven from a pattern book with designs for firearm fittings and ornament featuring grotesque motifs, male figures, captives, profile portraits of soldiers, fantastical creatures, demon bent over with smoke coming out of his behind, man in a mask shooting a bow - commedia dell'arte character, probably after Jacques Callot's Balli di Sfessania (Nancy, ca. 1622) , man wrestling a lion, arms and armor, flags, birds, mascarons (masks), foliate scrolls, scrolling leaves (rinceaux), fleurons, and rosettes. The plate is numbered and signed.
ELEVATION DE L'ORGUE QUE LE ROY A FAIT CONSTRUIRE DANS L'EGLISE PAROISSIALE DE ST. REMY A LUNEVILLE.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving and etching
Bound print

Elevation of the organ in the Church of St. Remy in Lunéville. The organ is richly decorated with music-playing putti, eagles, garlands, fluted columns, and trophies.
Designs for Carved Trophies
François Roumier, French, 16..–1748, 1740-1748
Etching and engraving on laid paper
Bound print

Page printed with two narrow plates of trophies set within frames with acanthus leaves, scrolls, and shells at the top and the bottom. The trophy of the left plate features a cartouche with an Old Testament scene of Christ on Mount Golgotha, a dragon, and an angel holding a cross. The trophy on the right plate features a cartouche with an Old Testament scene of Christ carrying the cross, and weaponry. Neither plate is signed; both are numbered.
Clelia Crossing the Tiber
Giulio Bonasone, Italian, 1500 /10 - 1574, ca. 1550
Engraving on paper
Print

Two women on a donkey crossing a river from left to right. A group of women on both sides of the river. In left background, tents; in right backround, trees.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of yellow-green velvet with design of tiny hexagonal figure enclosing a central quatrefoil in cut velvet with ground of uncut velvet.
Maisaka from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

This scene, in a bird's eye view, depicts the ocean landscape filled with ships. Seven large ships with white sails and crisp black waves represent the windy day. Three small boats are seen at the base of the tall mountain jutting the in middle of the print.
Hillside with Clumps of Maguey
Winslow Homer, American, 1836–1910, 1898–99
Brush and watercolor, graphite on paper
Drawing

Sketch of a hillside with clumps of maguey at center.
Bracelet
, 19th century
Pearls, gold

Six bands of gold, each ornamented with six half-pearls and a vine design in colored gold, crossing four flexible strans of gold.  Clasp closing concealed in one band.  Two half pearls and small chain at clasp are missing.
Architecture, from a Series of Seated Muses
, 1750–1780
Pen and bistre on paper, mounted
Drawing

Shown from the front. She carries a T-square in her lowered right hand and something in her raised left hand. A paper roll with the plan on a building lies beside her. Framed by ink lines.
Views around Hacienda Molino de Flores, Texcoco, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Mixed sketches showing views around the Hacienda Molinda de Flores in Texcoco, Mexico. At right, a view of a waterfall is included: water cascades through a rocky gorge, spilling over stones as it goes. The craggy walls of the gorge rise on either side of fall/stream. At left, a child with tattered clothing and long hair is shown leaning against a wall with their raised right hand.

Verso: Mixed sketches from Mexico showing loosely rendered views of a tree at center right, flowers growing in an building's niche at center right, and a stone bridge supported by two arches.
Ornamented Clock and Console Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for clocks and consoles, featuring ornamental motifs such as scrolls, garlands, mythological scenes and figures, masks, and terms. The plate is signed and numbered.
Armchair
, ca. 1750
Carved fruitwood

The open back and splat are formed by two intertwined curvate members moulded with scrolls.  Curved arms and arm stumps.  Cabriole front and rear legs. seat caned.
Arabesque Ornament Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Four horizontal designs for ornamental friezes with repeating patterns featuring arabesque motifs. The designs include flowers, scrolling leaves, fleurons, rosettes, festoons of flowers, ribbons, tassels, animal heads, horns, birds, wheat stalks, vases, putti heads, and oval roundels with figures. The plate is numbered and signed.
Project for a Chimney Piece
, ca. 1550
Black crayon, pen and ink, brush and ink, bistre on laid paper.
Drawing

Vertical retangle. On the right half, the entablature is supported by a gaine, wrapped in a cloth. In the center rises a pediment with a fleur-de-lys
Sucrier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for three sugar shakers with etched decoration, gadrooning, and bound reed ornamentation. The plate is signed and numbered.
Study for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on brown paper
Drawing

Study of the upper parts of a seated nude, and a left hand.
Coupe du grand Escalier de l’Hôtel de Toulouse à Paris, prise sur sa plus grande longueur, du Vestibule qui le precede, et de l’Antichambre à la quelle cet Escalier conduit au premier Etage
Jean Mariette, French, 1660–1742, 1713–42
Etching and engraving on laid paper
Print

An architectural section depicting the grand staircase from the Hôtel de Toulouse in Paris, with a view of the vestibule entrance on the ground floor and the antechamber on the first floor. To the left, on the ground floor, a set of two-leaf doors topped with an arched tympanum decorated with palm leaves and the interlaced L's for the king of France, with trophies of arms and armor on paneling flanking the door. To the right, leading to the staircase, two sets of two-leafed doors with glass panels and pilasters. The large staircase leading up to the first floor has an ornate wrought-iron balustrade with rococo ornament and motifs. Upstairs there are two large arched windows with small glass panels, with pilasters. And a view of the inside of the Vestibule with paneling, a chimneypiece and overmantel mirror with a panel above featuring an oval profile portrait and a festoon of flowers. To the left, two-leafed doors with a square overdoor painting depicting a landscape and ruins. There is a scale below and the plate is titled.
Pool of Hebron, Palestine
Frederic Edwin Church, American, 1826–1900, February 12-15, 1868
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch of a large, rectilinear pool in Hebron, Palestine. Some structures and trees are loosely rendered in the foreground, leading to a view of the pool at center middle distance. Two structures border the pool at left and center. Beyond, an unfinished road leads away from the scene.

Verso: Landscape sketch showing the second half of a panoramic view overlooking Hebron, Palestine. Numerous buildings, including a mosque with minarets, are visible throughout left portion of composition. Hills and slopes frame the scene in foreground at right. Rolling mountains backdrop the scene on theh horizon.
Monstrance
Eustach Hayd, d. 1674, 1670–1674
gold plated, silver, glass
monstrance

Four-lobed base decorated with embossed acanthus and floral scrollwork and cherubim appliques. Base rising to baluster stem and ovoidal sunburst framing an ovoidal pyx. Four female masks applied to frame and rose applied to fleur-de-lys finial.
Chalice Designs
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Five large and one small designs for a chalice. All have a flaring, undecorated lip. The two at far left have oval medallions at the base. Ink wash ground.
Fragment
, 19th century
silk and gold on paper strips Technique: plain compound twill

Small-scale all-over pattern of small curving branches with conventional flowers and leaves in extra gold wefts on finely diapered ground of small diamond-shaped lozenges also in extra gold wefts. No selvage.
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 leaf moldings, brackets with scale patterns and a rectangular frieze with classical figures. The overmantel features a male portrait bust on a plinth surrounded by trophies of arms and armor, with spears, shields, banners, quivers of arrows. Below, two birds standing on snakes and draped with a festoon of fruit and leaves. A scale below.