biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Large rinceau adorned with bouquets across the middle. Undulate band of acanthus leaves and white and green stipes on bottom. Foliate arches and metalic gold, white, and green stripes on top. Printed in white, green, metalic gold, and tan on green background.
Sidewall
, 1905–1915
Machine-printed paper, ungrounded

Band of stems with blue three-flower (poppy) bouquets alternating with thinner monochrome (white) bands of daisy-like flowers. Backgournd is a small white grid. Printed in blues, greens and white on ungrounded paper.
"Peintures decoratives du theatre du Franconi dans le grand carre des champs elysees 1833"
Félix Duban, French, 1797 - 1870, 1833
Watercolor, graphite Support: off-white paper mounted on off-white paper
Drawing

Design for painted decorations.  The upper band of decoration consists of swags of red, white and blue that flower into trefoil ornaments at the juncture points between the swags.  A red dot is drawn between each slumping part of the swag.  Below is a series of four roundels with abstracted foliate designs in red and blue.  Between the closely placed roundels are green palmette forms that flourish at either end of the roundels.  Below this is a band of upward swags, similar in design to those above.  At the lower portion of the page is a repeating design of tripartite foliate flourishes, from which delicate scrolling designs emerge.  Below is a line of green, broadly undulating scrolls and two broadly arching parallel red lines.  Below this, small red dots mark the terminating points of the arches.  Three thin green lines run vertically throughout the design.
Okabe, Mount Utsu, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

A torrent of water rushes down the pass between overhanging hills, towards right with trunks of pine trees.  On the path bordering the stream are peasants bearing bundles of wood.
Christ Driving the Merchants (or Money Changers) from the Temple, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Interior of the temple, with Christ in the foreground, listing his whip about his head. A man lies prone at his feet. Other men in the background, left and right. Monogram of Dürer, lower left.
Women doing washing near a cow-herd
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1800
Red chalk on white paper
Drawing

Two women doing washing by a stream are shown conversing with a cowherd, lying on the ground, back to the spectator; near him are two cows and a dog; a cottage in the left distance.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored sprigs of flowers, green leaves on white ground, lined graphite border.
Sidewall - fragment
, ca. 1750
Block-printed on handmade paper

In the style of a tapestry, single red flowers appear on top of dense foliage pattern.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, textured, liquid mica

Floral bouquet of white flowers surrounded by wreath of petite white flowers, in the center of a larger quatrefoil motif. Printed in white and metallic gold on ungrounded paper.
Miser's purse
, 1830–60
metal beads, silk Technique: metal beads sewn on to machine-made net using running and back stitches

Netted white silk ornamented with gold and cut steel beads, on one side only, in a zigzag and stylized floral pattern.  One ring of cut steel rimmed in gold controls side opening.  At one end a fringe of gold and steel beads; at the other, a tassel of twisted gold and steel beads.
Trophy composed of musical instruments
Izabel M. Coles, American, 1890 - 1964, ca. 1907–09
Pencil and watercolors on paper
Drawing

Within an arched frame, a trophy composed of musical instruments in the style of Ranson, bound by blue ribbon; tambourine, flute, horns, violin and symbols, with flowers tumbling from a basket. Ground rendered in wash.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Large foliate medallion alternating with small foliate medallion. Each medallion containing a bouquet of white flowers.  Ascending scrolls peaked with fleur-de-lis connect larger medallions.  Floral arbors  through out design.  Gold and green bands line bottom and top.  Green background lightens shade toward top.  Printed in various greens, burgundy, white and metalic gold.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Repeating, stylized tall buds connected by delicate swags of gilded dots. Printed in tan, light green, forest green and gilt.
Dado
, 1815–35
Block-printed on handmade paper

Repeating motif of a large-scale draped urn, which is set upon a laurel branch on a lambrequin, located within an arched niche. The niche is outlined in pink. A band of bead and real runs along underneath the urns. Doric columns support the triglyph and metope frieze.

H# 635
Frieze
Kayser & Allman, 1905–1915
Machine-printed paper

Large foliate medallions containing floral bouquet, alternate with group of three floral wreaths. A band of floral wreaths runs along the bottom edge. Background shades from light tan at top to dark tan at bottom.
Sidewall
, 1850–60
Block-printed paper

Conventionalized scrollwork vase with buds and leaves at top and bottom. Drop repeating arrangement, and the match at the sides is dropped. Heart shaped motifs alternate with the larger motifs.
Plate 7, Chart from Theatrum instrumentorum et machinarum
Bartholomeo Vincent, 1582
Woodcut on paper
Print

Diagram of directions, equating east, left, north, above. A rule of 24 unites center, in a horizontal rectangle.
Plate 46, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental cartouche composed of auricular, cartilage-like forms with a winged, turbaned man with bird legs and wings for arms. Above, two fantastic beasts hold garlands, and at either side, dragons.
Sidewall
, 1875–1906
Block printed on paper

Wood grain pattern, with dark and light stripes running vertically.
Fragment
, 18th century
wool embroidery on cotton foundation Technique: embroidered in chain stitch (needle-made), knots and satin stitch on a 2/2 twill foundation

Piece of crewel embroidery colored yarns with scattered motifs in a grid arrangement.  The motifs do not repeat in a regular manner but alternate a floral motif (eight different ones, sometmes facing in different directions) with an animal or bird motif (eight different ones).Different colors are used when a motif is repeated.
Sampler
Catherine Monteith, American, 1824
silk embroidery on linen foundation Technique: embroidered in counted cross, rococo, eye, and herringbone stitches on plain weave

Bands of upper and lower case alphabets and a set of numerals, a verse: 
I love them that love me and those that seek me early shall find me Prov. 8:17
Suffer little children to come unto me and forbid them not for such is the kingdom of God
then several more bands of alphabets and inscription.
The Four Horsemen of the Apocalypse
Albrecht Dürer, German, 1471–1528, ca. 1497–98
Woodcut on off-white laid paper
Print

Four men, with weapons drawn, on horseback riding over people. Angel flying above.
Temple Church, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Interior of an early Gothic church. A few men and women sightseeing. Three look over a fenc at funerary statues on the floor. Title, artists', and publisher's names below.
Drawing
, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Left side, green maze-like pattern with red circles on black ground; right side, vertical band, purple cloud band surrounds curving lines in red, yellow and black on black ground.
Four of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Four of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Study of seascape, Murano, Italy
William Stanley Haseltine, American, 1835–1900, June 23, 1871
Brush and watercolor, graphite on paper
Drawing

Sketch of the lagoon with the island of Murano on the horizon.
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–57
Block-printed panel

Urn with vining flowers, perched on vine-covered pedestal. Burgundy cameo. Printed on wood grained ground.
"Assyrian Head" Pattern Fish Serving Fork
Meriden Brittania Company, Meriden, Connecticut, USA, 1808 - 1898, 1885–86
silver plated, metal
fork

Fork with four tapering tines, with rounded notch in slot between central tines. Tines forming curved bowl. Bowl below root decorated with radiating scrolls, forming reeded surface on obverse and fluted service on reverse side, and scalloped edge on both. Narrow neck and stem, decorated with diagonal reeding halfway down handle, meeting setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Terminal of slightly rounded rectagular shape, with subtle upturn. Reverse side of handle devoid of ornamentation, with plain polished surface.
Design for a Table with a Vase at its Base
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a trapezoidal, four-legged side table with an urn at its base. The table is decorated with ornament motifs including wave pattern and acanthus leaf scroll. The plate is signed.
Design for Woven Fabric with Neoclassical Motifs
, ca. 1820
Brush and gouache on laid paper prepared with brush and brown pigment
Drawing

Arranged vertically are two motifs (one is possibly an alternate suggestion).  The lower motif consists of a square with decorated subdivision inscribed into a circle formed by a chain.  Plants rise obliquely from the corners of the square, their tops being horizontally connected by a rosette and plant motif.  The upper motif consists of an arch of a garden of grotesque style, in which a square hangs low, into which a wreath is inscribed.  From the pole forming the base of the arch hang chain festoons and gems.  A lyre is shown in a circular medallion which is surrounded by stars in the upper part of the arch.  Squared with graphite.
Commode à l'Italienne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a dresser with two central draws and three drawers on either side. The dresser is carved with fluting, acanthus leaves, lamb tongue framing around the drawers, and spiral fluting on the legs. Below the two central drawers is a garland of leaves. The plate is not signed.
Woman and child
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of female figure holding a child.
Handscreen
, mid- 18th century
Painted paper leaf, turned wood handle

Handscreen with a hand-painted paper leaf and turned wood handle.  Obverse: man and woman in landscape. Reverse: floral sprig with pink and red flowers.
Millinocket Lake, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite, white gouache, and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing a view of Millinocket Lake and Mt. Katahdin in Maine, from the southern shore of the lake near the artist's semi-permanent camp. In the foreground, the curving shoreline at right hosts a beached canoe beside a rock. The lake's surface extends across the foreground and middle distance, encountering multiple heavily wooded and rock-bound islands before reaching the distant opposite shoreline. Rising just above the opposite bank at center is a gentle rolling prominence known as Trout Mountain. Behind it,  Mt. Katahdin's sharp peak and rugged ridge rise above the scene, extending several other mountains at left, including Doubletop Mountain. Beside Katahdin at right, South Turner Mountain is also visible.

Verso: Indistinct landscape sketch possibly showing the outline of a rolling mountain ridge above a reflective lake. Clouds might be included, as well.
Developpement de deux Entablements Architrave Corinthien avec Corniche à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of two entablatures in the style of the Corinthian order. The plate is signed and numbered.
Figures
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of five figures descending a staircase.
Design for a Stove
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan for a design for a stove set within a niche and with a statue of Mercury at the chimney. The base of the stove is decorated with ornament motifs including lion mask, drapery, lozenge, bead, and branches. The plate is signed and numbered.
Design for a Vase
, late 19th century
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle showing a covered vase in the Japanese style, with a flying crane.
Woman with Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A woman stands in a landscape holding a shallow basket of flowers. Behind her, part of fence or wall with two pots with plants. The plate is signed.
Clock Case Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates. The table pendule on the left plate is elevated on feet with lion feet and heads, and decorated on the sides and tops with scrolling acanthus leaves, cornucopia, and a shell with putti. The plate on the right illustrates the profiles of the pendules from plates 2 and 5. Both plates are signed and numbered.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-35: Part of a set of Italian Minchiate playing cards.50
Ornamental Vase Design
François Boucher, French, 1703–1770, 1742-1750
Etching on cream laid paper
Bound print

Vase with a sacrificial lamb (pascal lamb) at top, and the head and wings of putto at either side. At front, a plaque in the form of an escutcheon with a figural scene featuring a bishop and supplicant. In the background, a frieze carved in relief near bottom. Above, an open sky with sunlight radiating beyond the lamb's body between groups of clouds. The plate is signed and numbered.
La Fontaine du Satyre dans du Carefour de Bosquet à Versailles (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on the same sheet, one above the other, illustrating detailed views of the gardens at Versailles. The upper plate, a view of a fountain with a statue of a Satyr on a plinth framed by trellis walls and trees. The lower plate, a detail from a large basin and cascading fountains with vases with jets of water. Framed by trellis walls and trees beyond. Statues on plinths and courtiers throughout the grounds. The plates are titled.
Textile
Haussmann, ca. 1840
cotton Technique: printed by engraved roller on plain weave

four vignettes of children at play. Each in an oval compartment framed by large scale foliage. Printed in purple on white.
Trimming
, 18th century
silk Technique: supplementary warp pile in a satin foundation (velvet)

Green trimming fragment with a design of an angular stem with leaves.
Spartan Virtue
Felice Giani, Italian, 1758–1823, 1811
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Young man in armor shown receiving shield from woman seated in armory. Staircase connects room with big hall. Framed by pencil square, whose lines divided into six parts.
Plan Général des Batiments Jardins et dépendances d’un projet fait sur un terrain situé a 14 Lieux de Munich
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Engraving and etching on paper
Print

An architectural plan for a palace and its surrounding grounds with gardens and outbuildings, near Munich. Each detail is lettered with the legend lettered along the left side, topped with a crowned coat of arms flanked by angels and sun rays. The plate is titled, signed, dated, and numbered.
Cape for an ecclesiastical figurine
, 1750–99
silk, metallic yarns, sequins Technique: embroidered with chenille and metallic yarns on moire

Small cape for an ecclesiastical figure, the "Bambino". White silk moire embroidered with silk chenille in greens, yellows, purples, and gold sequins and thread. Grapevine and wheat design, large-scale, around edge of cape and on collar.
Pleated fan
, 1820–30
Paper leaf with hand-colored etching and stipple engraving; carved wood sticks inlaid with steel discs, guards inlaid with mother-of-pearl, steel discs, and stones; mother-of-pearl washer at the rivet

Pleated folding fan with hand-colored etching and stipple engraved paper leaf with wood sticks and guards inlaid with steel discs, mother-of-pearl, steel discs, and stone ornaments. Leaf obverse shows a king and queen in Tudor dress seated on side-by-side thrones in front of a Gothic-style balustrade, with a courtier looking on. Reverse shows a reclining gentleman attended by two women, one pouring him wine and the other playing guitar, beside a river with palm trees.
Crucifixion with the Four Evangelists [left]; Saint Bridget [right, above]; Hospital Scene [right, below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto, left: Crucifix within an elaborate frame, crowned with angels. The four Evangelists with their attributes kneel in pairs, below, at left and at right.

Recto, above right: St. Bridget, holding a lit candle, stands before a Crucifix at right.

Recto, below right: A bird's-eye view of a hospital, with occupied beds along the right wall. In the background, figures near a door gather around another bed. Other figures sit on benches near the hearth at left. In the center of the room, a male attendant carries a bowl.

Verso: Oblique view of a pedestal with an equestrian monument to Marcus Aurelius Antoninus. Behind his horse stands an unclothed youth carrying a small sword in his left hand and a dead child upon his right shoulder.
Niagara Falls and Goat Island, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, 1856 or 1858
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a broad view of Niagara Falls from the Canadian side of the Niagara River. At left, the American Falls are visible and a portion of Horseshoe Falls is shown at right, while the heavily wooded Goat Island intercedes betwen the two at center. Water cascades in heavy, white ribbons over the edge of either fall, while towers are visible on either side. Below, in the foreground and middle distance, the white, churning waters of the Niagara River are visible.
Sketches from Rome, Italy
Frederic Edwin Church, American, 1826–1900, November 1868
Graphite on light brown wove paper; verso: graphite
drawing

Atmosphere and architecture sketches showing three views of cloudy skies and two of buildings in Rome, Italy. At center, a towering and billowing cloud blocks the sun's light and sends distinct crepuscular rays radiating into the sky above. Other billowing peaks are also part of this wide cloud bank. At upper center, a variously lit sunset sky is shown. At far left, the top of a square tower is included, while at far right, the domes of St. Peter's Basilica are loosely sketched. At lower center and oppositely oriented, a sketch of two clouds over the sea is included.

Verso: Landscape and architecture sketch showing a view overlooking Rome, Italy. In the middle distance at far left, the Column of Marcus Aurelius is visible atop a dark and loosely rendered ridge with numerous indistinct buildings, save a Greek temple-like building at center right. In the background at center, the domes of St. Peter's Basilica are prominently visible beyond a rolling and darkly sketched urban landscape. Billowing clouds rise behind the horizon and backdrop the scene.
Elevation of a Sepulcher Monument for an Artist
, early 19th century
Graphite on paper
Drawing

A pedestal with a tabula amata at the front stands between two braziers. Upon it rises a column with inscription supporting a garlanded urn. Artist's tools lie upon the corners of the pedestal; discernable are a hammer, ruler, palette and brushes.
Button
, late 18th century
Stoneware

1925-2-12-a: Two circular medallions in the style of Wedgwood J...
LA PLACE ROYALE DE PARIS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Bird's eye view of the Place Royale in Paris. Buildings surrounding a large square with an equestrian statue of King Louis XIII in the center. Figures, horseman, and horse drawn carriages throughout the square and on the street in the foreground. The plate is signed and titled with a description below.
The Annunciation of the Virgin, After Guido Reni
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown washes on paper
Drawing

On verso: Virgin ascending with angels and a sibyl and St. John the Baptist
A Watermill, Morteinert
Eugène Edouard Soulès, French, 1811–1876, 1831
Graphite on paper
Drawing

Mill is built over a slope. Written in the lower right corner: Morteinert 1831.
Lit Militaire, vue de côté
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Design for a crown canopy (baldachin) bed with the canopy supported by the two headpoles and projecting from the wall, view from the side at an angle. The crown is topped with feather finials and a feathered helmet at the front. The bed curtains are tied back to the poles. The headboard and bed linen are decorated with leaf motifs. The bed skirt is decorated with stripes, hanging swags of textiles, tassels and a cartouche with palm leaves and festoons of flowers. The foot posts are topped with feathered helmet finials. A scale below the design. The plate is titled, numbered, and signed.
Fragments
, 17th century
silk, metallic yarns Technique: compound twill weave

Bands of dolphins, flowers and birds on gray background.
L’ARC ou PORTIQUE DE VINCENNES
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of a triumphal arch with flanking arcade with sculptures in niches, friezes, banded rustication, columns, and balustrades. In the foreground, figures, and horseman. The plate is titled with a short description of the Vincennes arch.
Two Goats, from Berchem's "Animalia" (Animals) [ Animalia ad vivum delineata et aqua forti aeri impressa Studio et Arte Nicolai Berchem]
Nicolaes Berchem, Dutch, 1620–1683, 1635–83
Etching on paper
Print

In froeground, a young goat standing in side view, toward right. His head in frontal position. At left, another goat lying in side view facing left. No inscriptions.
Four Designs for Window Frames
Giuseppe Barberi, Italian, 1746–1809, 1780-1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Three frames, one before the other. At left: A left half of the windows of a groundfloor and a basement. At left, a pilaster on a pedestal. Center: a similar design without the bracket as a capital, as before. At right: the entire opening is shown. Moulded frame with a keystone. Top right: left top corner of a frame. Colored background.