biglam/cooper-hewitt-alt-text huggingface dataset:
Border
, mid-18th century
linen Technique: needle lace with 6-sided reworked ground

Symmetrical scrolls surmounted by floral sprays, alternating with repeated design of inverted floral sprays.
Bleeding Hearts, From "Book of Ornament" (Sketchbook of Botanical Studies)
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of heart-shaped flowers hanging from a curving stem; study of single flower shown below. Verso: sketch of flowering Arrowhead plant, from lower right to upper left.
Sketch of Chenonceaux
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Chapel at left; houses to the right. Vegetation throughout buildings.
Textile
, late 18th century
cotton Technique: block printed using a resist medium on plain weave foundation; immersion dyed in blue

White pattern on blue background. Rows of swags held up by tassels with a flower in the dip of each swag.
Sampler
, 19th century
silk and cotton embroidery on linen foundation Technique: embroidered in cross, long-armed cross, and overcasting stitches on plain weave foundation

Long narrow sampler dated 1645 near the top.  Motifs include the Sibmacher agn-- dei near the op.  Probably made following a 19th century pattern book.  Two lengths sewn together with decorative needle-made join.  Third short length of twill damask attached with attached braided fringe.
Spouted Punch Ladle with Elongated Wood Handle
, 1731
silver, wood
ladle

Punch ladle with oval bowl and single spout. Surface decorated with hammered finish. Elongated silver neck extending a third of the way down handle, meeting wooden subtle baluster-shape handle, ending in terminal with wooden ball finial.
Band
, early 17th century
linen Technique: punto in aria needle lace

Border composed of stylized heart-shaped forms. Taken from design by PARASOLE in 1597.
Salad Fork from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
gold plated, silver
fork

Salad fork, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Four tines with elongated notch between central tines. Wide, sloped, and rounded bowl, with tines and bowl gold plated. Narrow join, leading thick flat handle, with gently rounded sides, widening towards terminal. Obverse side decorated with lily motif within border, stemming from join of handle, continuing up handle with three sets of mirroring leaves on either side of central stem, terminating in mirroring lily blossoms encasing mongram 'EKG.' Terminal in form of segmented or flat arch, with slight upturn at tip. Reverse side of handle undecorated with plain textured hammered suface. Textured hammered surface visible throughout tines and handle.
Mug
Royal Worcester, English, established 1751, late 18th century
soft paste porcelain, vitreous enamel
mug

Mug decorated with scattered flowers.
Plate XVIII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

A container for liquid which may stand free, right, or from a wall, left. The spout at the top. Center, an illustration of its parts. A handle winds a string pulling one end of the container against the other, supported by a spring. The liquid is then forced out of the spout, above. Description in Latin on verso of 1949-152-215.
Border
, 1700–1750
linen Technique: bobbin lace, Brussels style

Border with a pattern of densely placed floral and foliated forms.
Fragment
, early 19th century
cotton Technique: block printed on plain weave

Half-drop repeat of four leaves on a medium purple background.
Chalice cover
, 16th–17th century
silk, metallic thread Technique: satin stitch embroidery

Faded purple ribbed silk ground embroidered in colored silk and metallic thread. Central design shows a cruciform composed of conventionalized flowerheads in profile and S-forms of foliage. Cover design of symmetrical delicately curving vine and flower. Narrow border of similar small scale design. Red, pale green and peach-colored silks.
Sidewall
Robert Graves Co., New York, New York, 1900
Machine-printed

Scrollwork, heraldic shields, vases of flowers printed on mica/metallic pigments, gold, green, copper over reserved deep peach ground with maroon background color.
Sidewall
William Woolams and Co., 1848
Block-printed paper

Two dark blue circular medallions containing, respectively, the letters "wh" and "jh". These are in drop-repeating relationship with a lozenge, black on white ground, which contains a row of crescents and two rows of ermine tails. This was printed for Captain Washington Hibbert and his wife Julia, for use at Bilton Grange, Warwickshire.
Vase
Daum Frères, French, founded 1875, ca. 1880
Acid-etched and incised glass, silver-gilt (mount)

Squat ovoid body of deep green glass with dark red interior mottling, straight neck. Silver-gilt base and lip mountings with floral designs. Body decoration on lower section depicts a pond with incised water lilies and aquatic plants; upper section has acid-etched background against which are flying birds with red bills and long red legs among leafy vines touched with gilding.
Portrait of Kenyon Cox
Robert Frederick Blum, American, 1857–1903, 1877
Pen and black ink, with ink wash on cream laid paper
Drawing

Portrait bust of a man's head and shoulders, facing front. Verso: figure; enframed sketch of hand; various notations.
Knife
, ca. 1690
steel, brass, mother-of-pearl

Sabre-shaped blade with a profiled upper edge, plain bolster and rounded neck. Flared rectangular handle with rounded top, brass mounts and band along the sides engraved with decorative pattern. Three brass rivets on each side of the handle. Front and back of handle carved mother-of-pearl.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Horizontally repeating pattern of short and tall groups of stylized lotus blossoms. Clouds of smaller flowers frame the lotus blossoms. Art Nouveau style borders run along the top and bottom of the page, and an architectural pattern of reeded archways runs through the middle of the page. Pattern is machine-printed in gold, green, pink, purple, dark red and off-white on a khaki ground.
Sampler
, 1779
silk embroidery on linen foundation Technique: embroidered in back, cross, stem, chain, and satin stitches on plain weave foundation

Very long vertical sampler with horizontal bands of  geometric pattern, alphabets, and spot motifs.
Design for a Monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Obliquely shown from the left front corner. Three steps lead up to a square base of two sections. A circular pedetal stands upon it. It is shaped like a lower part of a fluted column and is surrounded by a band with a relief representing a sacrifice. On top is a woman, similar to that in 1938-88-1274, seated upon a crouching lion. The left hand lies upon his head. The stone parts which are connected by a bar are shown in front of the right side. Slightly colored background.
Title Page
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Title page and view of a garden with a large triumphal arch in the background flanked by walls with arches and fountains. In the center, there are fountains, potted plants and a large central fountain with a sculptural group and horses. In the foreground are figures, stairs, balustrades, vases, and trees. The plate is titled and signed.
Man in a Landscape
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A man stands in a landscape holding a stick with both hands, with trees, foliage, and grass around him. The plate is signed.
The Madonna and Child
, ca. 1575
Engraving on paper
Print

Half-length figure of the Virgin, behind a parapet on which the Christ Child is seated, offering her breast to Him.
Plan, Sketch for Library Museum for J. Pierpont Morgan, Esq., New York
Whitney Warren Jr., American, 1864–1943, ca. 1900
Graphite, pen and black ink, brush and blue and yellow watercolor, red and green crayon, on tracing paper mounted on white laid paper
Drawing

Floor plan of the "Library Museum" above, flanked by exedrae and gardens; vestibule at lower center, flanked by studies and gardens; columned entrance and steps below; scale, lower right.  Edges pasted to a backing sheet of paper.
Fragment
, 13th century
silk Technique: complementary weft faced twill with inner warps (samite) Label: silk weft-faced twill with complementary wefts (samite)

Fragment of woven silk with two tangent roundels, each containing a senmurv.
A Pair of Scissors with Handles Formed by Half-figures of Women with Rinceaux as Legs
, 1815–50
Pen and ink, brush and gray wash on heavy off-white paper
Drawing

Pair of scissors with handles formed by half-figures of women with rinceaux as legs.
Pair of slippers
, 1889
Soldered tin

Pair of tin slippers on short heels; looped tin ribbons with nothced ends and stamped oval tin buckles mounted at tongues. Each heel, instep, back and sole made separately, soldered together.
Trial Proof for Cotton Printing: "Pastoral Scene with Peacocks and Poultry"
Joseph Sympson, British, 1710 - 1750, after 1721
Copper engraving in brown gum paste on eight sheets of laid paper with deckle edges, framed in two parts
Print

The scene shows a peacock and poultry between an urn, left, and a classical ruin, right. A bird flies overhead, and near the top of the composition dogs pursue a stag.
Two Shepherdesses in a Landscape
François Boucher, French, 1703–1770, after 1751
Etching on laid paper
Print

A pastoral scene with two shepherdesses in a landscape with sheep. A half-dressed woman sits on the ground, dipping her foot into a stream of water, with her arm around a sheep and holding a crook in her left hand, with flowers in her hair. A group of sheep to the left. A woman stands behind her holding a crook over her shoulder with a hanging basket of flowers. Trees and foliage in the background, with a stream of water in the foreground. The plate is signed and numbered.
Jan Lutma, Goldsmith
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1656
Etching on laid paper
Print

Three-quarter length portrait of Jan Lutma, the Elder, a goldsmith. He is seated in a tall chair, facing the spectator and turned slightly to his right.
Sepulcher in Egyptian Style with Death Carrying a Lamp
Louis-Jean Desprez, French, active Sweden, 1743–1804, 1779–84
Pen and black ink, brush and gray, blue-gray wash, graphite on off-white paper
Drawing

Architectural fantasy.  A drawing of a tomb with a sarcophagus in a rounded-arch niche.  A robed figure of Death stands before the sarcophagus holding a smoking lamp. The tomb is flanked by 2 recumbent lions carved in stone.
Stockings
, 19th century
cotton Technique: knitting

Pair of white stockings with a blue line at the top. Black cross stitch at top as well.
Sketch, Three Figures in Architectural Setting with Helmet and Shield
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Sketch, Three Figures in Architectural Setting with Helmet and Shield
Magicien Chinois
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with an older man dressed in Chinese costume (chinoiserie) sitting under a palm tree and holding a snake that is wrapped across his shoulders. In the background is a pagoda; at the man's feet is a teapot and a parasol. Under the parasol, Perroneau has etched his name. The plate is signed and numbered.
Gloves
, 17th century
leather, silk, metallic thread

Leather gloves with gauntlet cuffs of cut leather in a lace-like pattern. Lined with brown silk and edged with fringe.
Study for The Iron Bedstead of King Og, Plate 324, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown, black ink on cream laid paper
Drawing

A  large, elaborately carved bedstead appears on the left side of the picture. A group of men surround the bedstead on the left and right sides, staring and pointing, while a dog on the right walks, with head hanging down, towards the large structure. The background of the room contains arched windows, behind which appear trees. A stool, cut off by the picture frame on the left corner, appears in front of the bed. A curtain hangs from above, extending beyond the border of the picture and becoming part of the picture frame. A crossed pair of bones is positioned in four places on the frame, becoming part of the frame's detailed ornamentation.
Great Scientists, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Insertion lace
, ca. 1890
cotton Technique: machine made (Levers machine)

White imitation Valenciennes insertion lace with design of small floral sprays and dots on diamond reseau.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts and ornament decorated with grotesque ornament, fantastical animals, mascarons (masks), oval profile portrait, cartouche, heraldry (coat of arms), helmet, terminal figure, fleurons, flowers, scrolling leaves (rinceaux), and foliate scrolls. The plate is signed and numbered.
Gaines et Piedestal
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three pedestals decorated with ornament motifs including bound leaf, wave pattern, rosettes, fluting, lamb tongue, acanthus leaves, mascarons, and rose garland. The plate is signed.
Title plate, from Grottesco in diversche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1555–1571
Etching on laid paper
Print

Grotesque panel with the title in an escutcheon: "Grottesco: in diversche manieren / Zeer Chierln̈ck beqũaem en oirboorln̈c / voor Schilders, Glaesschrnüers, Beeldsnüdesr / En al die de Chierln̈cke ornamenten der / Antiquen beminnen, ghemackt bn̈ / Johans vredeman vriese, voth ghegheũen / dũer Geraert de Ieûde."
Cliff near Bolton, on the Winooski
Daniel Huntington, American, 1816–1906, October 1, 1864
Graphite on grey paper
Drawing

Rocky ledges with brush, descending from the left. Mountains beyond, outlined, right.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Title page with the text printed in the upper center. Below the text is a grotesque baldachin with putti; all of this is surrounded by a frame of scrolls, acanthus leaves, torchères, mascarons, and flowers. The plate is numbered but not signed.
President Chester A. Arthur, Standing
Daniel Huntington, American, 1816–1906, 1884
Graphite on wove paper
Drawing

Standing portrait of Chester A. Arthur with left arm at side and right elbow resting on a ledge or mantel.
Twilight over Cat Harbour, Canada
Frederic Edwin Church, American, 1826–1900, June or July 1, 1859
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of the setting sun over the bay and fishing settlement formerly known as Cat Harbour (now Lumsden) on the northern coast of Newfoundland island in Canada. Viewed from the ocean--whose rippling waters comprise the foreground--the rugged, mountainous coastline of Cat Harbour and its outlying islands are colored dark purple as they stretch across the horizon. The low sun is visible in the sky at center as it emanates a pinkish-orange luminous glow that colors the sky and is reflected in the water below. One small boat with four figures is visible on the water at center right, while a sailboat is anchored in the harbor in the middle distance at center left.
Sampler
Teresa Belardinelli, 19th century
silk embroidery on linen Technique: cross stitch on plain weave

Within a floral border (of four designs) are alphabets, numerals and the maker's name (Teresa Belardi Nell), people, animals, birds, ships, and flowering plants.
Design for a Woven or Printed Fabric
, 1815–1840
Brush and purple watercolor on paper
Drawing

The left bottom corner is shown. Rinceaux of flowers from the border. A bunch of flowers is displayed obliquely in the corner.
Near Hintersee, Germany
Frederic Edwin Church, American, 1826–1900, July 27, 1868
Graphite on tan laid paper; verso: graphite
drawing

Landscape sketch near Hintersee, Germany showing a view of a wooded, sloping mountainside in the foreground and the outline of a tall, craggy alpine range in the background.

Verso: Landscape sketch showing a view the tall, sheer, rocky alps near Hintersee, Germany. In the foreground, a wooded slope is loosely rendered, leading to a view of mountains in the middle distance at center. One tall, rounded mountain looms over the landscape.
Button
, 1870–1900
B) Brass, C) Copper

Circular convex buttons ornamented with a cock with right claw resting on ball and the words "Republique Francaise".

Component -b is on card i
Component -c is on card i80, wasn't labeled with component
Tree with Vines, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Brush and oil, graphite on paperboard; verso: graphite
Drawing

Landscape and botanical sketch with high level of finish showing the lower parts of two tree trunks with a climbing plant, likely philodendron. Upper portion of the tree is out of frame. In the background, a lush mountainous landscape extends under a cloudy sky, rendered in warm tones of cream and gray.

Verso: Rough graphite sketches of trees.
Border
, 1825–35
Block-printed paper

Arabesque of flowers and foliage, with wheat, in yellow, green, blue, violet, red and red orange, on a pale yellow field, Vertical rectangle.
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 10
Sampler
Margaret Grant, American, 1737
silk embroidery on linen foundation Technique: embroidered in two-sided cross, stem, buttonhole, satin, and long-armed cross stitches on plain weave foundation

The field contains an alphabet, several scenes and scattered figures, including The Three Fates, Adam and Eve in the Garden of Eden, the Expulsion, a lady and gentleman in contemporary costume, a hunter, sheep and birds, a verse in two columns, and signature, all within a stylized floral border. 
The verse reads: 
Let none despise the criss cross row

How soon poor Adam was they freedome lost
Forfeit to death ere thou hadst time to boast
Before thy Triumph was thy Glory done
Betwixt a Rising and a Setting sun
How soon that ends that should have ended never
Thine eyes ner slept until they slept forever

Margaret Grant her work begun April the 18 1737 in the 9th year of her age
Fukuroi: Famous Totomi Kites (Fukuroi, meibutsu Ensu tako) from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

Women working in the rice paddles stop and admire the kites flying in the air. These kites, flown by playful children in the background, are somewhat similar to the original kites that were flown years ago. During the mid-eighteenth century, kites carried samurai who flew over buildings to spy on the enemy.
Trophy Design
Jean-Charles Delafosse, French, 1734 – 1789, late 18th century
Etching on laid paper
Print

Design for an ornamental hanging trophy. A copy after one of the trophies in the print titled ‘Attributs de Guerre (Attributes of War), published ca. 1771 by Pierre-François Tardieu, after Jean Charles Delafosse. Trophy depicting objects associated with war, including shields, helmet, daggers, swords, armor, bow, and arrows in a quiver. The plate is numbered.
Designs for Roman Arms and Other Classical Motifs
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1840
Pen and black ink, brush and bistre wash, gray watercolor, graphite on paper
Drawing

Horizontal rectangle. Upper row: three shields, four legionary signs, a sword, a caduceus, a torch, a halberd. Lower row: four legionary signs, a rostral column, a gallery, fasces, two siege machines, a ram's head. Verso: some brush sketching of plants.
Design for a sedan chair
, ca. 1775
Pen and black ink, watercolors, and traces of charchoal on paper
Drawing

Shown from the rear right corner with two bars. The roof is shaped like a tent. On top and at the corners are fitted baskets. The window is divided into five parts by scrolls. The panel beside it is mainly decorated by garlands distributed like spikes of a shell around a disk. The upper panel at the back is decorated with frosted ovals. A crown of a baron is in the central one. The lower lateral panels are decorated assymmetrically. In the left part of the upper one is an escutcheon with a monogram [H or M]. The bars are decorated in their entire length. Both are so shown.
Design for a Book Cover: The Complaining Millions of Men
Alice Cordelia Morse, American, 1863–1961, ca. 1893
Brush and gouache on paper
Drawing

On a cream ground, round cartouche in gold and green with brown outlines, above and below vines ending in spiral and curved leaves.
Playing card
, ca. 1855
Red and black ink, paper

At top: C 4 S; below central image: 3
Jael and Sisera
Luca Giordano, Italian, 1634 - 1705, ca. 1690
Pen and brush and brown ink on cream paper
Drawing

Woman holding a mallet in her right hand and large pin in her left kneels, facing the viewer. Behind her emerge the arms, shoulders, and head of a man drunk, asleep on the ground, tankard in hand.
View of Pisa, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

A stone bridge with carriages and pedestrians.
Four Studies of Leopard Heads
, ca. 1750–1850
Etching or engraving on paper
Print

Four studies of leopard heads
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Graphite, brush and watercolor on paper
Drawing

The left bottom corner. Blue cornflowers and pink rosebuds are separated vertically by brown leaf-sprigs. Small garlands loop from beneath pocket flaps. Traced design on pocket flap.
Handkerchief
, 19th century
cotton, wool Technique: plain weave

Handkerchief with brown cotton warp with weft stripes of brown cotton and blue and red wool. Fringe on all four sides
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Profile sketch of a male figure; Verso, Sketch of a young male figure seated on a bench.
Landscape with Cows
, ca. 1800
Pen and ink on paper
Drawing

A brook runs into a steep valley. Cows stand in the stream and lie on the bank. Women wash at the opposite bank. A group of men have been partly erased. A bridge leads to the middle ground.
Section of a Parliament Building or Academy
, 1800–1825
Pen and black ink, brush and gray and pink wash, black chalk on paper
Drawing

Section a horizontal building.  The vaulted assembly room is at the right. The vaulted ceiling is decorated with figures and festoons.   At the left, are the ground floor with the entrance hall and the stairway as well as the upper gallery.  In the hall and upper gallery, statues on pedestals are placed against the walls.  In front of the building, at left, is a seated statue.  The portico and the balcony are at the rear facade.
Mt. Katahdin from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of Mt. Katahdin from a sandy beach on the southeastern shore of Katahdin Lake in Maine. The immediate foreground is rendered in some detail, with various submerged rocks and gravel visible through the crystal clear and subtly rippling lake water. A small portion of the beach is visible in the extreme lower left corner. The heavily wooded shoreline of the lake bounds the lake at far left. The lake's surface, which extends from the foreground the middle distance, reflects the triangular shape and warm hues of Mt. Katahdin, which looms over the landscape in the background. The mountain's lower, wooded slopes and bald, alpine ridge are clearly visible despite the distance. The sky above is clear and greenish-blue.