biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Horizontally repeating pattern consisting of alternating large and small medallions composed of stylized acanthus leaves. C scrolls create scalloped borders above and below the medallions, and a diaper pattern fills the space between the medallions and upper border. Pattern is printed in shades of pink, dark red, and white on a graduated background that fades from pink to tan.
Bracelet
, late 19th century
Formed, pierced and carved tortoiseshell

Dark brown tortoise shell with intricately carved center showing a frontal female head framed by two male profiles.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Lattice pattern of scrolls with medallions of scrolling foliage and flowers. Printed in light blue, white liquid mica and gold liquid mica on pink-beige ground.
Portrait of Cardinal Mazarin
Jean Morin, French, 1605 - 1650, 1650
etching on paper with black ink
Print

Bust-length portrait of the elderly statesman in three-quarter view to right. He wears a cardinal's cap and coat.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper

Dense and dark design with bouquets of Queen Anne's Lace-like flowers, every second one in an urn. A grouping of three flowers above each urn. Background shades from pink at top to red at bottom.
Textile
, ca. 1840
cotton Technique: printed on plain weave, glazed Label: roller and block printed on cotton plain weave, glazed

Glazed chintz with offset columns of Persian cone shapes made up of delicate flowers and leaves; polychrome on very dark blue ground.
Cap streamers
, early 18th century
linen Technique: bobbin lace, Brussels style

Brussels-style cap streamers in a symmetrically arranged design of foliage and slightly conventionalized floral motifs.
Fragment
, late 17th–early 18th century
silk Technique: damask, supplementary weft

Fragment of green silk damask brocaded in gold and red. Pattern depicts hunter, cupid shooting a bird, rayed head.
Fragment
, 17th–18th century
silk Technique: woven

Scrolling vine and large flowerheads on a pink-orange ground.
Flask
, 18th century
Glass

Opaque white glass with light blue cast.  Painted decoration with central bird on one side of bottle and crest on other side of bottle.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim. Decoration showing flowering plant and insects.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Various indistinct sketches.
Knife
, ca. 1580
Mother-of-pearl, brass, horn, steel

Straight-sided blade, the upper edge tapering downwards to the point. Decorative indentions on the upper edge. Plain bolster, handle square in section, flaring towards the end, cumulating in a stylized bird's head. Tang continues with scrolled edge, fitted with mother-of-pearl scales with three rivets, top of handle has horn scales. Two large brass buttons on each side.
Fragment
, possibly 12th century
silk on linen Technique: embroidered

Fragment embroidered in multicolored silk.
Fragment
, ca. 1795
cotton Technique: printed by engraved plate on plain weave

Stripe of wreaths of leaves containing circular medallions of rosettes. In red on white.
Sidewall
, 1780
Block-printed on handmade paper

Repeating design of putto and dog on pedestal connected by floral swags in random arrangement, with straight across match. Pedestal group, blue-gray. Roses and carnations, pinkish orange. Pin dot background, dark blue on cream.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

A pattern of large quatrefoil cells with floral swag borders contain smaller foliate quatrefoil medallions. Larger pattern is printed over a grid of small dots, giving the paper a textured appearance. Design is printed in khaki and light green over beige ground.
Textile
, 17th century
Technique: woven, combination of two structures

Woven fragment with design in red on cream colored ground. Fringed in red and white stripes.
Semi-circular Figural Scene with Central Figure Possibly Ascending
, 17th–18th century
Ink and pencil on paper
Drawing

Central figure, wearing a cloth around his hips, appears to ascend from a rectangular box while a clothed male figure on the left tries to flee. On the right one man lies down as if wounded and is tended by another who looks up and left in awe of the central figure.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace decorated with ornament motifs including bound leaf, hanging garland, rosettes, fluting, and a central lion head. The plate is signed.
Design for the Decoration of a Dome
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for the Decoration of a Dome
Button
, late 18th century
Stoneware mounted in copper

1930-27-2: Rounded medallion showing classical head (man's) i...
Buckle
, 19th century
Steel, brass, citrines

Rectangular buckle with rounded corners; design of a double row of citrines held together in four places by bow knots; prongs and fastener made of brass.
Portrait of a woman: Viviane
Jeanne Dabos, French, 1763 – 1842, ca. 1785
Pen and ink, brush and watercolor on paper
Calligraphy

Bust length portrait of a woman, facing left in profile.  She wears an elaborate headdress of ribbons and feathers.  Enclosed in oval calligraphic frame.
Console table
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Console table.
Study for Portrait of Hon. Robert C. Winthrop for the Historical Society, Mass.
Daniel Huntington, American, 1816–1906, 1885
Graphite on cream wove paper
Drawing

Man seated in an armchair, facing frontally. Head and feet not shown. A book in his right hand, on his lap.
Perspective Design for a Painted Dome and Cupola of a Church
Andrea Pozzo, Italian, 1642–1709, early 18th century
Pen and black ink, brush and gray wash on off-white laid paper
Drawing

Architectural view looking up into a circular coffered cupola, sculpted with flowers. An entablature consisting of three windows separated by pillars supports the interior ceiling.  A lantern tops the cupola.
Fragment
, 900–1400
cotton, wool Technique: interlocking tapestry, 1:1

Panel of tapestry in geometric design arranged in four repeats. The colors are red, yellow and rose. The ornaments are outlined in dark purple.
Artists Sketching in the White Mountains
Winslow Homer, American, 1836–1910, 1868
Graphite on off-white wove paper, blackened on verso for tracing
Drawing

Horizontal scene of two male figures (artists), with easels and umbrellas, painting on a hillside overlooking distant hills and mountains. Verso: Vertical sketch of two male heads of soldiers, parts of other sketches, one of which is invalidated; another very rough one shows a bust portrait.
Design for a painted ceiling
Charles Percier, French, 1764–1838, ca. 1810
Pen and black ink, brush and watercolor, graphite on white laid paper
Drawing

In the middle of the center rectangle is a circular medallion with Napoleonic N; the coats of arms of the emperor and of the King of Italy are shown laterally. Laurels are in  each corner of the interior square; depictions of men battling centaurs between the laurels. Outside edge around center rectangle are identical depictions of Victory presenting a figure to a winged male nude. Each scene is separated by armor. The plaques behind each figure refer to specific victories of the Napoeonic army.  The conquered armies are noted on the plaques. The center rectangle and the scenes on the lower left are completed with color.
Fragment
, 15th–16th century
silk Technique: two integrated fabric structures, 5-harness satin patterned by plain weave (lampas)

Satin ground vertically striped in rose-red, orange-red, dark blue, green and white.  A broad rosy-red stripe at left has a large-scale Arabic inscription in yellow (the fabric must be turned 90 degrees in order to read the Islamic inscription). The central white stripe has geometric knot-like design in red (so badly worn that design is almost indistinguishable); the dark blue stripe on the right has arabesques in yellow and red. Narrow white, green, and orange-red stripes border the wider stripes described above. No selvedge present.
Balcon de L'Avant corps du milieu de la Façade de L'hotel de Ville
Jean Lamour, French, 1698–1771, 1767
Etching on laid paper
Bound print

Designs of two ironwork balconies in the Place Royale, Nancy. At the center of each partition is a coat of arms, monogram, trophy, or scrolling acanthus leaf or rocaille form. The plate is similar to 1921-6-218-6, although it has different lettering and is missing the bottom balcony. The plate is signed and numbered.
Design for a Stuart Monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The architectural setting is similar to 1938-88-1296. The sarcophagus stands below in front of a pedestal upon which stand two women, supporting shields with their outside hands, leaning with their inside arms upon another pedestal, whose front panel is intended for the inscription. Above it sits upon a seat with lion chimearae as legs the ruler, having the mace in his left hand.
Preparing the Bath for the Christ Child
Fortunato Duranti, Italian, 1787 - 1863, ca. 1825
Graphite, pen and bistre, brush and gray wash on paper
Drawing

At left, women prepare the bath in a large, round basin, while another woman brings the water. At right are two seated figures, one holding the child. The Star of Bethlehem is visible through an opening in the background.
Suicide of Marcus Porcius Cato
Felice Giani, Italian, 1758–1823, late 19th century
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Cato kills himself with his sword, lying upon his bed. Mourning crowd enters his room.
Japanese Women
Robert Frederick Blum, American, 1857–1903, 1891–1892
Graphite on wove paper
Drawing

Sketches of two female figures within an interior.
A Console Table with Alternative Suggestions
, 1675–1700
Pen and brush with brown ink on off-white laid paper
Drawing

Elevation of a console table. Legs in the form of scrolling acanthus leaves on ball feet.
Design for a Woven Platband
, 1800–1830
Graphite, brush and gouache on paper
Drawing

The repeat consists of two calyxes with blossoms horizontally disposed to blossom rosette. Four petals are sketched with graphite. Obverse is colored blue.
Two Funerary Monument Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Two designs for funerary monuments (tombs) featuring obelisks, drapery, portrait bust, oval profile portrait, leaves, draped figures (mourners), smoke, bat wing, scythe, cartouches, trophies, and a book. The plate is signed and numbered.
Vase and Flowers in a Landscape
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a vase or urn, on a grassy mound within a landscape of water, rocks, grass, flowers, and wheat or tall grasses in the background. A bagpipe or musette on the ground, left of the vase. The vase is decorated with hanging textile or ribbon, a frieze of triangles or sunflower leaves, and two hanging rings, with a hanging festoon of leaves and flowers.
FRONTISPICE de la Salle de la Place Dauphine.
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Design for the entryway to the temporarily constructed room on the Place Dauphine for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745. The entryway has columns wrapped in rose garlands and an archway covered in billowing columns with winged putti and trumpeting angels around the couple's crowned coats of arms.
Oval frame supported by two angels
Giuseppe Barberi, Italian, 1746–1809, 1775–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

A variation of the motifs as in -1838 with some deviations. The right angel apparently kneels; the legs of the left angel are completely visible. Usual background.
Count Ugolino della Gherardesca with his Sons and Grandsons in Prison
Felice Giani, Italian, 1758–1823, ca. 1800
Etching and aquatint on paper
Print

Scene from the Divine Comedy by Dante Alighieri of a group of figures in a prison cell interior. At left, seated, the Count Ugolino raises his hands, helplessly. The younger grandson kneels before his grandfather praying for food, his arm outstretched. Behind, a group of three other boys in the central rear, one reclining upon the floor. At right, a skull under a beam of light entering through a barred window. Shackles mounted to the wall at left and right.
Design for a Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1936-88-1327. The lower part of the structure has an octagonal plan, the oblique sides being convex and the outside corners being bevelled with the outside gaines standing obliquely. The gaines have above the clothed upper parts of the bodies of women. The height is stressed.
Sketches, Allegorical Figures
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink on paper
Drawing

Two sketches of allegorical figures; at left, Christian attributes; at right, two tablets (?). Inscription on verso.
Alpine Landscape (Bavaria or Switzerland)
Frederic Edwin Church, American, 1826–1900, June–September 1868
Brush and oil, graphite on off-white paperboard
Drawing

Landscape sketch showing a view among the European Alps in Bavaria near Berchtesgaden or the Rhone Valley of Switzerland. A grassy hilltop fills the foreground, with a tree at lower left. A heavily wooded and steep hill abruptly rises out of the landscape in the middle distance at left. In the background at center right, an immense, rocky, and conical mountain is prominently visible and part of rugged alpine mountain range that disappears in the dark, cloudy distance. A loosely rendered bank of warm-tinted clouds stretches across the upper margin.
Elevation d'une Porte entre deux Pilastres
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a door between two pilasters. Above the doorway is a framed panel of lamb tongue, brackets with lion head, and a band of egg and dart. There is an overdoor panel that features a trophy with helmets, flags, and a shield with a lion head. The plate is signed.
Design for a Doorcase
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of 1938-88-1693. Beside the medallion are two helmets. The children support a wreath; garlands hang from the upper spirals of the rinceaux. Usual background. Similar to door enframement, Room of Mirrors, Palazzo Altieri.
Stage Design: Architectural Capriccio with a Tempietto and Broken Columns
, 1775–90
Pen and black, brown ink, brush and gray wash, pink, yellow watercolor, graphite on thick white laid paper
Drawing

Horizontal drawing of a stage design. In the middle a domed tempietto with sculptural decoration and trefoil ground plans. On either side antique buildings, in the foreground ruins; in unfinished state.
Sampler
, early 19th century
cotton, glass beads Technique: embroidered on plain weave

Sampler of white cotton with embroidery of polychrome glass beads. Twelve different border motifs. Five different floral designs in center of panel.
Sampler
, late 18th century
silk embroidery on linen foundation Technique: cross stitch on plain weave

Alphabets, numerals, portions of borders and varying other designs.
Four Designs for Brooches in the "Byzantine" Style
Carlo Ansorge, German, active Rome, 1800–89, 1860–65
Pen and brown ink, brush and watercolor, graphite on white paper
Drawing

Bottom drawing in image.  Four disks from left to right: 1st disk: Blue with gold edge; Red petal shaped pattern stemming from inner green circle; Inner circle had a four pedaled flower with red center; surrounding inner circle is and alternating diamond and circle pattern.
3rd disk:  Green with gold edge; six pedaled flower with blue and gold center within a red and gold trim circle; center surrounded by smaller red disks with four petal flowers alternating with two blue dots.
4th disk:  Red disk with blue edge; six pointed star with red circular center with a blue edged circle; center surrounded by alternating patterns of four pedaled flowers with blue centers and green diamonds.  
2nd disk:  Blue with red edge; red diamond with blue center within green disk
Mantilla
, 19th century
silk Technique: bobbin lace, Chantilly style Label: silk bobbin lace

Square mantilla of black Chantilly lace with a cross in the center and a design of floral swags forming a deeply scalloped innter border; bunches of flowers are placed within each scallop.
Two Cheyenne Youth
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1880
Brush and watercolor, graphite on cream wove paper
Drawing

One boy is shown at left, sitting and turned toward right. In upper right corner, a standing youth, shown frontally without the feet.
Textile
, 19th century
silk, paper with applied gold foil Technique: plain compound twill

Only fragment of design remains. Large conventional rosettes in extra wefts of broad paper gold strips on dark blue ground.
Vase de marbre blanc, dans la grande allée à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase form the Great Lawn in the gardens at Versailles. The vase is decorated with acanthus leaf, shell, fleurs-de-lys, c-scroll ornament and fluting. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
Designs for Bedroom Alcoves
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white lined paper, lined
Drawing

A view into a rectangular room, with two posts supporting the drapery and curtains of the alcove. At right the two sketches, one above the other. The upper one suggests a tripartite front of a tent, with closed lateral parts, and a pointed roof between two motifs. Above, the openings are rectangular with entwined triangular forms, in the frieze on top.
Study of Cavalry Officer's Boots
Winslow Homer, American, 1836–1910, 1862–64
Recto: Graphite, pen and black and brown ink on off-white wove paper
Drawing

Recto:  Vertical view of the lower legs of man wearing knee-high boots and standing in grass; a sheathed sword hangs behind his legs; verso: foreshortened view of a man, with closed eyes, wearing a hat and lying on ground.
Rim of the American Falls, Niagara River
Frederic Edwin Church, American, 1826–1900, 1856
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the American Falls of the Niagara River from the American side. The falls' curving edge zigzags from the foreground at lower center to the middle distance at center, as ribbons of water cascade into the basin below. Cliffs and rocks at the base of the falls are outlined at right.

Verso: Landscape sketch showing slight, unfinished view of Niagara Falls from below. Only its edge and some falling water are rendered.
Rugged Mountain Range, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a rugged mountain range in Mexico. Viewed across expansive, flat terrain that comprises the foreground and middle distance, the mountain range features several sharp peaks that form serrated horizon. A particularly tall, craggy peak is shown in darkness at right, likely cast in shadow by an unseen cloud above.

Verso: Landscape sketch showing the burn scar of a wildfire in the mountainous topography of Mexico. In the foreground, sloping terrain descends into a ravine at lower left. In the middle distance at center, a large, black burn scar spreads horizontally across the landscape, widening as it goes. In the background, two prominent mountains are visible: at center, one with multiple craggy peaks, and at right, a conical mountain with a gently descending slope. Sporadic puffy clouds hang in the sky above.
Six Men Standing or Walking in a Public Square of a Town
, 1730–1750
Pen and ink, black chalk on paper, mounted
Drawing

In the center in front is a richly clad gentleman shown from the front side. Behind him are at left, another gentleman with a cape and a workman; at right, three figures. In the background are at left a church and a big mansion, but un-Venetian looking. Indication of the clouds.
Ichigaya Hachiman from the Series 100 Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1858
Woodblock print in colored ink on paper
Print

Pink clouds divides this print in half. The top portion consists of a peaceful and contemplative scene of the Hachiman Shrine in Ichigaya. The shrine appears among blossoming cherry blossoms and tea leaves. The lower half depicts the streets, filled with people and shopping stalls. During the mid 19th century this station was famous for its teahouses and prostitutes.
Sunset over Mountains
Frederic Edwin Church, American, 1826–1900, 1860 - 1870
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of sunset clouds over a mountainous landscape, likely in the Hudson River Valley. At center, a tumultuous mix of layered clouds is variously illuminated above a rolling mountain horizon with a sharp peak at right.
Door Wall Elevation
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink on off-white laid paper, lined
Drawing

Door Wall Elevation.
Designs for Buffets
Pierre Cottart, French, ca. 1630 – 1701, ca.1680–1710
Etching and engraving on laid paper
Print

Designs for two buffets. To the right, a buffet set within an arched niche for the display of jugs, vases, bowls, plates, cups, and a clock on shelves with brackets with a console table below at the dado level. The top of the arch is decorated with a crowned cartouche with a festoon of fleurons. The upper levels of the walls are decorated with molded panels with a diaper and rosette pattern. The buffet is flanked by two different wall fountains. To the right the fountain is ornamented with shell, mask, strapwork, and s-scroll motifs, with the water pouring into a rectangular basin below. The fountain to the left consists of a sculpted urn or vase, with a winged putto sitting on top, holding a candle, with a sculpted plaque above. The water pours out of a mask's mouth into a circular shallow basin below. To the left a design for a buffet or armoire to store plates and crockery. The doors are opened and decorated with rococo motifs, scrolling acanthus leaves, fleurons, strapwork, quivers of arrows and a central cartouche with a vase framed by a garland of leaves and rosettes. The lower half of the armoire is tiered and has three shallow drawers. A large vase of flowers and fruit sits on the top shelf. The back of the armoire is decorated with a diaper pattern with rosettes. Each design is titled, with a scale below. The plate is numbered and signed.
Overdoor
, 1780–90
Block-printed on handmade paper

Vertical rectangle for overdoor or fireboard. Young man with fish on a line, and young woman, against background. Printed in colors on a blue ground.
Designs for Interiors
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two interiors, arranged vertically on the page. The top room is centered on a chimneypiece with an over-mantel mirror with chairs on either side. The panels are decorated with ornament motifs including urns and acanthus leaves. The lower room features panels with putti holding bouquets of flowers on their heads. The plate is signed and numbered.