biglam/cooper-hewitt-alt-text huggingface dataset:
Study for a Window in the Judson Memorial Baptist Church, New York
John La Farge, American, 1835–1910, 1892–1900
Graphite and watercolor on paper
Drawing

Arched top window of four panels, divided into small triangular panes, in the Byzantine style. Below, an inlaid marble panel.
The elevation of an altar
, 1760–1790
Black chalk, pen, ink, brush and grey water color on paper
Drawing

Vertical rectangle. Two feet support the frame of the painting, the mouldings of which are connected with the entablature of the chapel. A volute pediment is on top of the frame. A cherub is beneath it. Two framing lines.
Design for a Candlestick
Joseph Anton Seethaler II, German, 1799–1868, 1827-1836
Pen and ink, brush and watercolor on paper
drawing

Lion paws support a base. Upon it, eagles and a vase at left, swans at right, are to support another base, upon which a column topped with a statuette of Diana. Two branches are fastened upon which foreparts of crouching griffons support the sockets.
Way Uptown
Childe Hassam, American, 1859–1935, 1921 and April 18, 1922
Etching on wove paper
Print

Audubon Avenue and 193rd Street, New York City. View from Columbia Heights, looking across Harlem. A man, woman, and three children in the foreground.
Chintz fragment
, 18th century
cotton Technique: printed on on plain weave

Fragment of cream-colored cotton, in design of detached flower sprays, alternating with flower head in profile; background sewn with very small design of flower head with stamens. Colors red, blue, violet, black for outlines. Glazed. No selvages.
Candlestick
, 1850–1900
Pewter

Gadrooned spreading foot, baluster stem and rimless candle socket.
Panel
, 19th century
silk, cotton and metal Technique: There are two warps [one yellow silk, one grey or ivory silk], and two wefts [one yellow cotton, one ivory cotton]. There is an interesting interplay between the ground fabric and the ground fabric and the various brocaded metal-wrapped yarns. [The metal and red silk are brocaded.] E.g.: gold with yellow cotton, silver with ivory cotton. Note: use of metal. E.g.: metal strips wrapped on silk yarn, flat metal strips, "kinky" metal-wrapped yarn.

Three lengths of fabric to form vestment.  Floral branch contained in wreath-like ogee in silver, gold and red on a gold background in an "ottoman style."
Fragment
, 17th century
silk Technique: 4&1 satin damask

Branch with dog and bird in plum and yellow.
Wood engraving. Vignette.
, 1800–1830
Engraving and etching

Rose wreath.
View of Florence with the Cathedral, S. Croce, Palazzo Vecchio, Plate 4 from "Scelta di XXIV Vedute delle principali contrade, piazze, chiese, e palazzi della Città di Firenze"
Bernardo Sansone Sgrilli, Italian, died 1744, ca. 1743
Etching on paper
Print

Shown from a point southeast of Porta S. Niccolò. Bottom margin: "Io. Zocchi delin. Et sculp. Figure[as]." / "Veduta di una parte di Firenze presa fuori della Porta a S. Niccolò presso al Fiume Arno" "B. Sgrilli sculp." "T.IV."
Still life arrangement
Martha S. Day, November 11, 1859
Pencil on paper
Drawing

Vertical rectangle. An easel draped with a fringed plaid cloth. Inscribed, lower left,: "Nov. 11th '59 (in pencil). "
Textile
Henry Bunbury, British, 1750–1811, ca. 1785
cotton Technique: printed by engraved plate on plain weave

Length of cream cotton, composed of two pieces stitched lengthwise, copperplate printed in brown. Six satirical scenes in a military encampment: soldier being thrown from his horse, a woman in a large bonnet being escorted into the camp.  On a barn are the initials A.D. (I?), and on the end of a drum the words Royal Artillery G. 111.
Two Sketches for a Wall Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Two horiztonal rectangular compositions. Above, enthroned figure at right, many figures to the left, with notes on sizes. Below, female figure seated with two standing figures on either side.
Ivory at Home
Frederic Villiers, English, 1852–1922, 1890
Black crayon on paper
Drawing

Three elephants, one standing left, eating grass.
Fragment
, ca. 1850
silk Technique: machine-made ground with hand embroidery

Black Spanish blonde lace with handrun pattern of flowers and leaves on machine ground.
The Dream of the Doctor
Albrecht Dürer, German, 1471–1528, ca. 1498
Engraving on laid paper
Print

A man seated before a stove, sleeping, his head resting against cushions. He faces left, his head shown almost in profile. In the foreground, right, stands a nude woman (Venus), her figure turned slightly to the left, her head in the direction of the dreamer, her right arm extended toward him. A demon appears behind the sleeping man, about to blow a bellows in his ear. A winged Amor, lower left, attempts to mount stilts.
Drawing
Felice Giani, Italian, 1758–1823, 
Pencil. Pen, brush, black ink. Light bluish paper

The old king is killed with a dagger and an ax by the servants of Tarquinius on a crowded square of Rome. A woman tries to stop the bearer of the ax.
The Monkey and the Dolphin, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Monkey seated on a dolphin over water, center. Both in right profile. Tail of dolphin, right; upset boat, left.
decorative door nail
, 16th–17th century
Wrought iron

Square type, shaped, embossed, and with wrought lines forming a floral quadranted design of four pointed petals. Raised rope-edged square in center. Nail-head square and notched on square shank.
Fragment
, 1700–1750
linen Technique: bobbin lace

Triangular fragment with a symmetrical design of blossoms and foliage. Valenciennes ground.
Fragment
, early 18th century
linen Technique: needle lace

Narrow fragment with open, scrolling floral design. Brides picotées.
Trimming fragment
, ca. 1830
silk Technique: woven

Trimming fragment has a design of scrolling acanthus leaves and smaller stems in shades of yellow on a plum ground.
Trimming fragment
, ca. 1830
silk Technique: woven

Ornate scroll in white on red ground.
Death of St. Joseph, study for a ceiling painting
Francesco Solimena, Italian, 1657–1747, ca. 1670–1747
Pen and yellow-brown ink, yellow-brown wash, over black chalk indications on paper
Drawing

Christ is seated upon the bed of and speaks to St. Joseph, beside whose head the Virgin stands. Two small angels busy themselves with a censer, at the bottom. An angel stands behind the bed. Others fly or are seated upon clouds, on top. The setting represents a part of a classical building. Squared with chalk.
Border
, 1850–1900
Block printed and flocked paper

Printed architectural molding with gild edge bands at top and bottom edges, gray flocked center band. 

H# 177 (B)
H# 179 (A)
H# 180 (C)
H# 181 (D)
Sidewall
, ca. 1770
Print with stencil colors

Chintz-inspired design. Wild fantasy floral pattern printed in multicolor on white ground.
Cup and saucer
, 18th–mid-19th century

en suite with W
Fragment
, ca. 1810
cotton Technique: printed by engraved plate on plain weave

Fragment of chinoiserie-style toile with two seated figures, one holds a Chinese stringed instrument (pipa). Near them is a pagoda-style building. The spaces between are filled with large-scale exotic flowers and foliage.
Seal with Egg-Shaped Handle
House of Fabergé, 1842 - 1918, late 19th century
rhodonite, gold, white enamel, green enamel, pearl
seal

Composed of a melon-shaped rhodonite held by a white enamel strap and set with a pearl on top. Mounted on a round base with a green enamel top, white enamel belt and gold base engraved with an order.
Plate
, 18th–mid-19th century
Black transfer

courting scene
Side chair
Duncan Phyfe, American, 1768–1854, ca. 1812
mahogany caned seat covered with upholstery

Rounded and reeded seat rail; rounded and reeded tapering legs.  Top rail carved with "thunderbolt design," tied with bow.  Below top rail, two diagonal, crossing bars, reeded.
Flounces
, 19th century
linen Technique: bobbin lace, Brussels style

Two flounces in the same design of vertical arrangements of two patterns alternately placed and composed of leaves and flowers.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a girl, crossed out.
Fragment with factory marks
I & L Simpson, 1858
cotton Technique: roller printed with color added by block on plain weave foundation

Isolated polychrome sprays of flowers on a squiggle-filled background. Mark at one end, pattern at the other.
Necklace
Carlo Giuliano, Italian, 1831 - 1895, ca. 1890
Gold, enamel, diamonds, pearls, peridots

Gold and enamel necklace composed of three components: two sections of six-strands of seed pearls flanking a pendant with five peridots, diamonds, and drop pearl. Components can be separated to form two bracelets and stand-alone pendant.
Plate X, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine, not a lathe' perhaps fo tracing and cutting copies of wood pieces. A man working at machine, upper right, controlling folding slats attached to curved wood on which a large looped wood piece is hooked, touching a screw. Description in Latin on verso of 1949-152-207.
Sketch after Cecil Lawson's "Swan and Iris"
James McNeill Whistler, American, 1834–1903, 1882
Etching and drypoint on cream laid paper
Print

Near an iris plant a swan flutters in a stream which flows under an arched bridge. In the distance are barges, four tall trees, a low shed and two chimneys.
Ianvarivs (January)
Martial Courteys, French, died 1592, 1565–75
Grisaille enamel, flesh tones, touches of color, and gold on molded copper
Plate

Circular plate, decorated en grisaille, with flesh tones and heightened in gold, showing a scene of a couple banqueting; captioned "Ianvarivs."
Les Chanteurs
Wilhelm Schmidt, German, 1842 - 1922, ca. 1880
Etching in dark brown ink on white satin
Print

A frieze composition showing eleven children. Five in the center sing, and two, at right, drink wine.
Sampler
Martha Savage, 1769
silk embroidery on wool foundation Technique: counted and uncounted stitches; cross, satin, eyelet, knots and couching stitches on plain weave foundation; interlacing

Within an angularly curving border of carnations, bands of text and pattern, women in ball gowns embroidered in relief, and an oak tree with two stags, a snail and a caterpillar. At the bottom, the inscription "Martha Savage Her Work 1769" and the initials A.S. between the ladies, with a verse: 
"All you my frinds (sic) who now expect to see a piece of work thus performed by me. Cast not a smile upon my small endeavor. I'll strive to mend and be obedient ever." 
"See now the lillies flourish white and fair, see now the ravens fed from heaven are, The neer distrust thy God for cloth and bread whilst lillies flourish and the raven's fed."
Candelabrum
Edward Barnard & Sons, English, 1832
silver
candelabrum

One of a pair of four-branched candelabrum with central candlestick with supporting baluster stem on tri-lobed spreading foot, allover floral and foliate scroll motifs.
Ticket for "The Author's Benefit Pasquin"
A.M. Ireland, 1736-1794
Etching on paper
Print

Etching after a pen drawing. A stage upon a podium. Upon the stage in foreground actors and actresses.
Plate XVII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

A carriage drawn by more than two horses, driven, center, by a man sitting between two carved lions that face backwards. A platform on the wheels, with a box supported by two crescents supporting a roof. Sphinxes, scrolls, fauns, nymphs, and crown above. Description in Latin on verso of 1949-152-214.
Samples
Interiors Import Co. Inc., ca. 1890
Asphaltum composition, wood

Fourteen tall, rectangular wood panels mounted with molded asphaltum samples of wall and ceiling ornaments in various motifs ranging from bead-and-reel and arabesque borders to foliate forms, shells and cornucopia, to animal and figural forms.
Lion trap
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Engraving on paper
Print

Horizontal rectangle. The lions, frightened by the lighted torches carried by the hunters, are forced into the string of nets set up to trap them, right. At lower left: "Ioan. Stradanus invent." Right of center, below: "Ioan. Collaert Sculp."; at lower right: "Phls Galle excud." Below: "AS TU QUI SATAGUNT VALIDUM ILLAGUEARE LEONEM..."
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Rather open design of linked scrolling acanthus leaves, each containing foliate sprigs. Printed in green and white mica on ungrounded paper.
Square
, 16th–17th century
linen Technique: grid of withdrawn element work with needle lace, reticella style, and edge of bobbin lace

Square with bobbin lace edging has cross-shapes filled with needle lace fillings. These are inside a fine diamond lattice with small squares where lines intersect.
Fragment
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation

Fragment of cut and uncut red velvet with a pattern of flower sprigs and ribbon garland.
Spearhead
, 19th century
steel
spearhead

Long spatulate point above series of 16 projecting barbs, the whole terminating in hollow flued socket.
Sidewall - fragment
, 1845–55
Machine-printed on machine-made paper

Machine applied ground color in a very subtle shade of light pink or lavender. No design is printed on the ground.
Square
, 1830–1860
cotton Technique: block and machine printed

Square scattered with Persian cone or paisley design in multicolor. Field has a red ground with green, blue, yellow, reserve white picotage outlines. Larger cone ornaments in two opposing corners. Border is wide and separate from the field by a narrow yellow strip and has green ground, cone, lead, picotage in red, yellow, blue, reserve white. Cone is in shape said to have evolved 1820-30.
Carpet fragment
, ca. 1885
wool on linen and cotton Technique: warp pile on plain weave foundation

Floral rug design showing Persian influence in bold colors on a dark red ground. Wide plain weave selvage on left side.
Nude Study of Man Walking
Kenyon Cox, American, 1856–1919, 1880–84
Charcoal on paper
Drawing

Nude study of man walking, facing right, with a staff in his right hand.
Georgian House Facade
, late 19th century
Ivory, pigment
Matchsafe

Oblong, curved lid and bottom, featuring engraved decoration, situated horizontally on case body, of Georgian style house, with four chimneys, four rows of windows, front door flanked by classical columns and fanlight above, a tree on right side of house, on left side of house "Vestas" is inscribed (to be read if case is turned upright), all is framed by decorative border. Reverse features engraved decoration, situated vertically on case body, of flower bouquet in vase on stand. Top of lid, located to left of house, features engraved flower surrounded by decorative border, thumb catch protrudes slightly over box edge, hinged on side. Striker on box bottom carved into ivory with hatch marks.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Rose bouquets set within foliate framework. Bouquets are printed in metallic gold and copper colors. Printed on a striated background, creating a shadow effect.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Larger and smaller carnations alternate on off-white polka dot ground
Panel for a shirt front or sleeve
, early 19th century
linen, wool, metallic thread Technique: embroidered

Straight panel of heavy white linen with a narrow band of embroidery in a pattern of stylized plant forms in colored wool and metal in the center. Next to the band is a line of isolated plant forms also in colored wool and metal. At top is a solid band of embroidery in diamond shapes.
Design for South Wall of the Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1818–19
Brush and gouache, graphite on white wove paper
Drawing

Wall decoration composed of single painted panel of a dragon horse and a devil dancer to left and right, framed above by two coiled serpents. Panel is flanked by paintings of columns entwined by serpents. Other elements indicated in outline, in graphite.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Diagonal bands of leaves alternating between tightly spaced and loosely spaced. Printed in white liquid mica on white ground.
Study of landscape, Norway
William Trost Richards, American, 1833–1905, ca. 1901
Brush and watercolor, graphite on paper
Drawing

Sketch of lowlands with a group of houses in shadow. Mountain range shown in the background.
Fragment
, 17th century
Technique: bobbin lace, discontinuous tape

Fragment of a band with birds and flowers, two oval tabs each with a double-headed eagle.
Sample
, mid-18th century
Technique: bobbin lace

Bobbin lace sample pillow, floral forms; mid-18th century Flemish (looks like a cuff)
Border
, 1870–90
Block-printed on embossed paper

Frieze on paper embossed with textile weave pattern, brown, green and off-white floral motif interspersed with scrolled red and green foliage; top and bottom banding consists of brown ground, brown and off-white abstract flower and leaf motifs bordered in red with off-white dots. Printed on metallic gold ground.
Border
, late 19th century
linen Technique: lace of pre-made tape (looks like needle made) with needle work fillings

Border fragments of needle lace with a variety of floral blossoms connected by stems falling into rhythmic patterns. Patterns outlined by raised threads (cordonnet), connected by narrow bars (brides), and interspersed by decorative filling stitches (portes).
Ceiling border
, 1875–1900
Machine-printed paper

Wallpaper roll. Borders or sidewall: two different designs each occupying half the paper width. Stylized blue flowers on wavy background; and zig-zag motif with blue flowers. Printed in blue and metallic copper.
Dish
, 1820–30
Glass

Straight sides cut with strawberry diamonds, top and bottom edges with vertical flutes, on the bottom the flute carried over to rayed fluting, fan shaped handle projecting from top edge, canted back, with vertical flutes.
Fragment
, early 18th century
silk Technique: 5-harness satin damask

One motif visible in a large-scale yellow damask with a symmetrical design or mirror image on the center line of an elaborate exotic plant form with long slender leaves.
Christmas Out of Doors
Winslow Homer, American, 1836–1910, December 25, 1858
Wood engraving in black ink on paper
Print

Figures on the street in the snow. Two figures silhouetted under wreath in window, upper center. Lower half of the page.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

White and pink floral design, purple branches on black ground with rust fern pattern.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on gray paper
Drawing

Three branches with light green foliage at center right of composition point towards edges of page. Between each branch there is a stem with green foliage and maroon flowers. On gray ground.
Border
, 1800–1820
Block-printed on handmade paper

Ormolu or gilt bronze medallions. Larger motif alternates with a floral quatrefoil. Band of egg and dart along bottom edge. Narrow straight band along top edge. Printed in yellow ocher, brown and mauve on a pink ground.

H# 663
Design for a Garden Parterre of Cut Grass and Colored Gravel, from Nouveaux Livre de Parterres (New Book of Garden Beds) from Oeuvres du Sr. Marot
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching on cream laid paper
Print

Garden design with four curved points and fountain with statue at center.
Sampler
Mary Ann Bottel, 1786
silk on wool Technique: cross, stem, romanian stitches on plain weave wool. Counted stitches.

Floral border on three sides.  Fourth side has flame stitched border with figures, lions, and trees enclosing a verse.

"This is the Day when Christ arose/ So early from the Dead/ Why should I keep my Eyelids close/ And waste my Hours in Bed/ This the Day when Jesus broke/ The Pow'rs of Death and Hell/ And shall I still wear ---- Yoke/ And love my sins so well/To Day with Pleasure Christians meet/To pray and hear the Word/ And I would go with cheerful feet/ To learn thy will O Lord/ I'll leave my sport to read and play/ and so prepare for Heaven/O may I love this blessed Day/The best of all the seven."

Signed "Mary Ann Bouttel Finished/November 30 1786."
Greeting Card with Needle and Thread
Agata Brick Kösemark, Possibly German, active 1820s, 1827
Graphite, brush and watercolor on paper with steel needle and silk thread
Calligraphy

A square card with an eight-line verse in the center.  Flowers and vases decorate each square panel, divided by an undulating branch repeat.  Quatrefoils in red ink at lower left and right contain the date and the name of the child, Agata Brick Kösemark.  A needle holding orange silk thread symbolic to the text is inserted above the lines of verse.  Folded.
stick pin
, ca. 1867
fresh-water pearl, gold, enamel, diamonds

Gold stick pin topped by green-enameled serpent surrounding a baroque pearl.
"Colonnes rostrales, fetes de Juillet 1838"
Félix Duban, French, 1797 - 1870, 1838
Watercolor, pen and black ink, graphite on off-white paper mounted on off-white paper
Drawing

Design for a white polyhedron rostral column articulated with abstract designs in red, yellow and blue, and interrupted with three successive basin-like forms that appear to run through the post.  The top of the column is surmounted by a ribbed ball structure and the base is articulated with three plaques, upon which the numbers "27", "28", and "29" are written.  The whole structure rests on a plinth with tripartite divisions, with a marbleized red or green geometric form on each section.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile made of white clay, Face of tile is decorated with stylized flower having double row of petals; framed in plain border; glazed deep blue.
Caddy
, ca. 1795
copper, silver
caddy

Boat-shaped, with two interior compartments, flat lid hinged at center; reeded bands at top, middle, and bottom of side wall; lock at each end.
Numazu Evening, 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

Center, full moon rising in the center over village towards which three pilgrims pass along road bordering river. One with grotesque mask distinctive of pilgrims to the Shinto Shrine of Kompira in Province of Sanuki. Left, thick pine woods.
Prudence, Vaulted Panel, Appartmento Napoleonico, Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, brush and gray wash over black chalk ruled lines on light greenish-beige wove paper
Drawing

Panel of trapezoidal ceiling vault with horizontal octagon of Prudence sitting between putto leaning upon tablet and one embracing crane, flanked by tondi with putti and trophies.
The First Lesson
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1775–1800
Stipple engraving in brown ink and white paper
Print

A woman sits before a curtain, facing her child to the right. He stands, supported by her left arm, both holding on to a paper with the beginning of the alphabet on it. Far right, an urn or vase with flowers.