biglam/cooper-hewitt-alt-text huggingface dataset:
Drawing
Felice Giani, Italian, 1758–1823, 1800-1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Obverse: at left: a/ Hebe standing at left pours nectar from a jar into the bowl held by the seated Jupiter. Seated gods are in the rear.  At right, B/ Hercules and Hebe sit upon a bed. He tries to hold her back who is intent upon hindering Cupid from carrying away the lion skin. A putto flies away with the club. Reverse: At left c/ Hebe stands beside the seated and drinking Jupiter, who is shown in profile.  At right: 'd/Hebe approaching from right faces three seated figures, Hercules evidently being that in the rear, the first one being a goddess.
Fragment
, 6th century
wool Technique: woven compound, complementary wefts, 1&2 twill

Fragment patterned with geometrical and rosette motifs enclosed in octagons. The intersection between octagons is filled by a rosette.
Pompe funèbre de Marie Thérèse d’Espagne Dauphine de France, en l’église de l’abbaye royale de St. Denis le V septembre M.D.CCXLVI
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view of the church of St. Denis during the funeral ceremony for Marie Thérèse of Spain. Highly decorated interior with vaulted ceilings, stained-glass windows, candelabra, and drapery. On a mezzanine level, large arched niches similar to opera boxes full of seated figures. At the center of each arch, a large ornamented escutcheon surmounted by a crown. At the ground level, crowds of figures sit and stand for the service. An ornate baldachin at right, the columns of which are decorated with many candelabra. At the center of the baldachin is a hanging shroud, below which is a skull and a cross. Above the baldachin, a large hanging canopy, the fabric of which is decorated with a pattern of fleurs de lys.
Sewing instruction book samples
, 1829
Woolen flannel, linen plain cloth sewed in green and yellow silk.

A) Specimen made of two rectangles joined together. Each rectangle is bordered with cat-stitches. b) Rectangle with borders and three lines of cat-stitching. Marked "9th Class Specimens."
Escutcheon
, ca. 1820
Brass

Vertical ellipse. Large keyhole pierced through field of small repoussé dots, surrounded by band of higher relief dots.
Ascending female figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ascending female figure, partially drawn. Proper left arm extended above head.
Keyhole escutcheon
, ca. 1750
Gilt bronze

Keyhole in centre of radiating frills and foliage held in on either side by an s-scroll. Two holes for nails.
Les Portiques D'Athenes
Dufour et Leroy, ca. 1810
Block-printed on machine made paper, applied border
Scenic panel

One of series, Les Portiques d'Athénes. Mountains and building in background: ruined aqueduct in middle distance; in foreground, woman with dog, and man riding a donkey with two oxen. Architectural border in yellow and blue.
Flounce
, late 17th–early 18th century
linen Technique: bobbin lace, Brussels style

Flounce of Brussels-style lace with alternating pattern of a dancing female figure attended by a winged putto enclosed by a rocaille decoration and a centrally placed potted tree set on a table that is flanked by figures dressed as American Indians. Motifs are surrounded by geometric motifs and other rocaille forms.
Plate
, 18th–mid-19th century

en suite with C
No. 168
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1871
Mouth-blown crystal, facet-cut and polished
Cordial glass

Mouth-blown crystal, partly facet-cut and polished, with a dainty floral engraved border
Pair of earrings
Tinsel Trading Company, ca. 1890
Carved tortoiseshell, gold

Tortoiseshell pendant earrings. Each earring composed of vertical post from which hangs a stylized tulip, and round pendant surrounded by circular framing.
Sidewall
, 1820–40
Machine-printed on continuous paper

Irisé or rainbow paper. Motifs include bouquets in baskets, or perhaps potted plants, stylized floral sprigs and dotted bullseye pattern. Printed in red, yellow and blue on ungrounded blue-green paper.
box
, ca. 1880
Gold

Pair of cuff buttons (A, B) and box (C) designed to hold set. Circular, undecorated except for heads at edge; one foot. Box covered with dark red leather, lined with deep purple velvet.
Album of Architecture (3e et 4e cahiers)
, 18th century
Album

Red quarter cloth binding with marbled paper boards. Ex Libris, engraved on paper, pasted to the middle of the paste-down endpaper of the upper cover.
Interior of St. Peter's Illuminated
Francesco Panini, ca. 1725 – ca. 1794, before 1787
Brush and watercolor over pen and ink on tan laid paper
Drawing

Interior of Basilica of St. Peter's on Holy Thursday.  View is asymmetrical, from a position between the left side aisle and the nave.  Interior is illuminated by a large cross, composed of several hundred lit oil lamps, suspended in front of the Bernini baldichin.  Figures stand under the cross and scattered around the nave.
Model of a Carriage
, 1860–90
Carved, cut, and painted wood and wrought iron, sheet glass

A one-horse Hansom carriage model, the cabin with one wheel on each side supporting an enclosed seating area, with a window on each side, the roof with a luggage rack and hand hold, all behind a platform accessible by a small step with front guard wall with two curved bars to connect to a horse's harness, and with carriage lamps on the side.
Fragment with partial chef
, ca. 1795
cotton Technique: plate printed on plain weave

Fragment with part of one detail that is a reverse of a scene on the Jouy textile "La Fete Flamand". There is a partial chef
"MANUFA... de DU...."
Design for Serving Table with Two Upper Shelves
A.N. Davenport Co., 1900–05
Graphite on cream tracing paper
Drawing

Oblong uppermost shelf has serpentine front and is raised on 2 columnar supports at front and 2 carved twisted straight supports at back; rectangular center shelf attaches mid-way above lower part and has 2 drawers front; piece slightly raised on 4 short rectangular feet.
Okazaki, Tenshin Bridge, 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

Daimyo procession crossing trestle-bridge over river from left to right. Upper half, village, castle, group of low hills and mountain.
Teaspoon from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
silver
spoon

Teaspoon, part of flatware service designed in "Martelé" silver for "Rockledge Estate" in Winona, Minnesota. Oval bowl, narrow join, leading to 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.
Collar
, 19th century
silk Technique: embroidered

Black fabric attached to large symmetrical fabric with a black border that surrounds natural colored fabric with vase and floral embroidery. Below black is a border of yellow fabric with florals in the center bordered by decorative stitches at the top and bottom of the fabric. Below is an area of green openwork crochet edged with 11 multi colored tassels.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

On tan ground, V-shaped central design composed of white and gold rinceaux containing cluster of white roses and arch of white roses. These motifs separated by vertical bands of scroll work and foliage in white and gold.
Wall Elevation with Fireplace and Two Doors
Frederick Crace, English, 1779–1859, 1815–22
Pen and gray ink, brush and watercolor on off-white laid paper
Drawing

Horizontal composition illustrating an elevation of an interior wall with a fireplace at center and two tall doorways at either end.  The walls above and flanking the fireplace are yellow, while the doors indicate graining and colored panels. Indication of green, striated marble in the overmantles and wall frieze.
Pan-American Exposition
Whitehead & Hoag Company, 1901
Plated metal, printed celluloid
Matchsafe

Rectangular, featuring printed decoration of a red, white and blue banner, one large star in upper left, blue corner; golden eagle set against white ground on diagonal central band, eagle situated above green banner that is inscribed "Pan 1901"; 4 small stars on lower right, red corner. "Pan-American Exposition 1901" inscribed in blue above flag; "Buffalo, N.Y., U.S.A." inscribed in blue below. Reverse features representations of North and South America in the forms of fin-de siecle style women draped in flowing scarfs, their hands clasped at the isthumus, where the 2 continents meet. Inscribed in black on box side is "Made by the Whitehead & Hoag Co., Newark, , N.J."; inscribed on opposite side: "Designs Copyrighted by Pan-American Exposition Co." Lid hinged on side. Striker on bottom.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Gold scroll treillage containing floral wreaths and clusters of red flowers on light gray ground.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

A diamond diaper pattern, with a foliate medallion at every intersection. There are two varieties of medallions: a large green medallion at every second intersection and every second row, and a smaller tan medallion containing a simple floral motif. The background is a yellow-white color printed on a tan ground. Printed in right selvedge: "S.A. Maxwell & Co. New York & Chicago" "10". Printed in the left selvedge: "Exclusive Design 2204 J".
Border
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Border of heavy linen worked in a provincial style. Pattern shows little human figures that alternate with an abstract motif.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Large pink rose vining with back-ground of white mica stripes. Beige ground. Printed in white, greens, pinks and white liquid mica. Printed in right selvedge: "Carey Bros. Co." Pattern number "208"
Folding Knife From Traveling Cutlery Set
, ca. 1790
silver, gold
knife

Blade has straight upper edge tapering towards the point. Lower edge slightly curved towards the point. Flat, straight-sided handle with rounded ends. Silver scales engraved with floral decoration and gilded details. Three rivets. Blade folds into handle.
Pillow for making bobbin lace
, 19th century
wood, straw, linen, iron, copper, oil cloth, cardboard. Technique: patterns and tools

'Pillow' for making bobbin lace in two parts  with 24 bobbins of turned posts and drawer in base.
Edging
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, floral vine border, blossom field; late 18th  century Buckinghamshire.
Printing block
, late 19th century
wood

One from a set of five blocks for printing textiles. This would have been the second block in the sequence of printing.
Cover
, late 17th–early 18th century
linen, cotton Technique: trapunto embroidery on plain weave

Small rectangular cover with a central field surrounded by a narrow border. The narrow outer border is patterned by a curving floral vine stemming from an urn in each corner. Central field is patterned by a floral vine stemming from urns in each corner surrounding initial-like scrolls in center enclosed in a wreath and surmounted by a crown.
Towel end
, 18th–19th century
linen Technique: needlework on knotted net

Towel end edged at one end with wide border of stylized tulips and birds.
Pleated fan and case
, late 19th–early 20th century
Silk leaf, tortoise shell sticks

Pleated mourning fan. Leaf of black georgette crêpe backed with organdy. Tortoise shell sticks. Black enamelled metal bail. Black satin box lined with white satin and marked "Tiffany & Co."
Ignudo from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ignudo (nude figure) between The Great Flood and Noah and his family making a sacrifice after the Flood on the ceiling of the Sistine Chapel, painted by Michelangelo. He is seated with spread legs and his right arm raised and draped over his head.
Self-Portrait
Kenyon Cox, American, 1856–1919, 1876
Etching in black ink on paper
Print

Self-portrait of the artist in three-quarter view, wearing a coat.
Western Methodist Book Concern Building, Chicago, Illinois (Harry Bergen Wheelock, architect)
Kristian Schneider, American, 1865 - 1935, ca. 1899
Molded terracotta
Architectural panel

Large square panel of buff-colored terracotta, the surface decorated with one half of vertically oriented design of abstract vegetal motif in lonzenge shape (to be set below similar panel to complete design).
Sketchbook Page: Boy's Head
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Head of a boy, facing forward, looking slightly to the left.
Frieze
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Two bands of mirror-reversed repeating scroll pattern composed of vine, fleur-de-lis, and acanthus leaves separated and bordered by horizontal bands on a solid ground. Printed in black, greens, off-white and peach.
Bowl
, ca. 1810–20
Glass

Shallow, circular bowl, encircled star cut on bottom, narrow flutes rise to swags filled in with fine flutes. Trefoil cut rim, well defined cuts.
Advertisement for McLaughlin's Coffee from the Children's Scenes and Life Series
Cosack & Co., Buffalo, New York, USA, ca. 1892
Lithograph on paper
Trade card

Horizontal rectangle. Scene of a group of children; a boy and girl seated on turned wooden stools playing checkers while two other girls watch.  Their play area is atop a green carpet with blue border.  The interior space is divided into two planes: a flat mushroom brown color for the floor and a pale mustard yellow to indicate the walls.  The children all have fair complexions and are neatly scrubbed wearing gowns and pinafores, while the boy wears yellow knee breeches, a white shirt with yellow bow, and matching boots. The girl at right carries a doll wearing a red dress.
Landscape with Houses
Arnold William Brunner, American, 1857–1925, ca. 1890
Graphite, brush and watercolor on paper
Drawing

A landscape with clustered groups of small houses with gabled roofs outlined against the sky.
Christmas Boxes in Camp – Christmas, 1861
Winslow Homer, American, 1836–1910, January 4, 1862
Wood engraving in black ink on paper
Print

Union soldiers in camp trying on their Christmas socks and eating delicacies from home.
Textile
, ca. 1810
cotton Technique: block printed on plain weave

Half-drop repeat of leaves and flowers on diagonal branches in browns with green a brown background.
Valentine Greeting
, ca. 1850
Brush and watercolor, embossed metal paper on embossed white paper
Greeting Card

Bunch of flowers and Cupid in a wreath in the center. Inscribed in blue ink around central motif: "My heart for you, Is fond and true".
Border
, 1875–1906
Block-printed

Wallpaper roll.
Printed five across, large red and yellow flowers, with foliage, and small blue flowers.
Nevers
Arnold William Brunner, American, 1857–1925, 1883
Graphite, brush and orange wash on pink paper
Drawing

Left, sketch of houses and man with hat and unidentified object under his arm, walking on sidewalk. Right, sketch of building and doorway, turret above and drain pipe.
Frieze
, 1840s
Block-printed paper

Frieze of drapery, urns, classic-revival architectural ornament. Beige ground divided into horizontal bandings by brown and blue molding, horizontal pointed elipses with floral and foliate ornamentation, and groupings of parallel lines and geometric shapes. Frieze dominated by draped swags, bright blue, above which are blue urns and which appear draped from small round-ended panels with flower centers. Panels top vertical banding of browns which interrupts horizontals of rest of the ground.
Border
, 1820
Block-printed and flocked on handmade paper, glazed

Same design as 1952-52-19 but leaf cluster, and dentil molding at bottom, are in orange flock. Also one of the flower clusters is yellow and green instead of white and green. Clusters of leaves and clusters of flowers connected by stems as above. Printed on white glazed ground.
Sidewall
, 1880–90
Machine-printed on ingrain paper

Large palmetta surrounded by acanthus leaves. Three flowers are placed on top of the palmetta. Fine lines run horizontally behind motifs, printed in gold, stiple effect in motifs, greenish beige. Has appearance of flock.
Figure of Harlequin Dancing with Columbine
Meissen Porcelain Manufactory, German, active from 1710 to the present, 19th century
hard paste porcelain, vitreous enamel, gold
figure

Dancing Harlequin and Columbine of the Commedia dell'Arte.
Ceiling paper
, 1905–1915
Machine-printed paper

Treelis or grid pattern with a quatrefoil motif filling the center of each grid, as well as the intersection where the four corners meet. Printed in green and brown on spotted tan ground.
Figures
, 18th century
Painted terracotta, glass (eyes)

Two cherubs' heads, with wings growing out from shoulders. One, behind and above the other, has curly hair and parted lips showing two teeth. Painted in flesh colors, with pink and blue accents on wings. Glass eyes.
Sidewall
, 1870–90
Machine-printed on paper

Aesthetic style design, very stylized and flat floral motifs and foliate scrolls. Printed in red, black, light yellow and metallic gold on yellow ocher ground.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Grid pattern formed by foliate links, alternating circle and square motifs at intersections, with the squares composed of four flowers. Printed in light green ground.
Sidewall
, 1830–50
Machine-printed on continuous paper

Diamond trellis pattern with small black diamonds at point of intersection. Printed on off-white ground.
Seven of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Seven of Clubs playing card from a pack of transformation playing cards. Vertically, a group of minstrel figures shown in stereotypical blackface, the symbols of the clubs used to color their faces, their features highlighted in white. The figures play various musical instruments including drums, vioiln, cello, and horns. Three music stands throughout scene.
Chalice cover
, 17th century
silk, metal and coral beads Technique: embroidered and beaded

Square, probably top of chalice cover; cloth of silver, with symmetrical design of stylized plant forms and jars at corners and sides, pointing toward center rosette. Coral beads form leaves and tips of plants which are worked in flat silver.
Sampler
Susanna Hope Spilsby, English, 1786
silk embroidery on linen foundation Technique: embroidered in cross, running, satin, and chain stitches on a plain weave foundation

Square of darning, a verse from Deuteronomy 32:29, and isolated domestic motifs.  Signed "July the 16th 1786, B44th 81473 a teacher in Halton Susanna Hope Spilsby wrought this sample aged 11 years."  Pencil drawing of a head at top center.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a landscape with buildings in the center and mountains in the background.
Title page from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

An elaborate frame, at top, composed of a tree hung with various objects and animals. At center, a bucranium. Below, a landscape background.
Sample
, 18th century
Technique: bobbin lace

Bobbin lace sample, open net grid; 18th century Mesh Fantasie.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Laurel wreaths alternating with smaller circles. Printed on off-white ground.
Spherical Cane Handle
, 19th century
wood, silver
handle

Round knob of wood inlaid with silver in designs of three circles, formed by bands of stripes, dots and conventionalized figures.
Sidewall
, 1840–70
Block printed on satin ground, continuous paper

Vining floral pattern. Brightly colored realistically rendered floral bouquets, along with secondary vining pattern in grisaille. Printed on mint green polished or satin ground.
Triumphal Arch with the Royal Swedish Coat of Arms
Louis-Gustave Taraval, French, 1738 – 1794, 1767
Pen and black ink, brush and gray, green wash, watercolor, graphite on white laid paper
Drawing

The triumphal arch, depicted at center, in mid-distance, consists of a higher central and two lower lateral archways.  Above the central arch is a chariot with two allegorical figures of women. On the ground, seven small-scale figures of men and a woman (and even one accompanying dog) promenade below the arch, pointing or looking at it.
Candlestick Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a candlestick decorated with fluting, scrolling leaves (rinceaux), fleurons, acanthus and laurel leaves, and flowers. The plate is titled and numbered.
Design for an Embroidered Frontal
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Five-sixth shown. Sheaves are connected above by drapery festoons, below by scrolls to form three compartments. The lateral ones are decorated with plants rising between the scrolls. A cross hangs in the central panel. The framing border is divided into oblongs and squares at the corners. Colored background.
Seascape, Bloxburgh, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite and white gouache on gray wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the ocean and coastline near the hamlet of Bloxburgh, Jamaica. A portion of a ridge near the shore is visible in foreground at right. Beyond, the ocean water extends to a distant and high horizon. Above, brightly-lit and billowing clouds cast a reflection across the water, along the composition's central axis. Clouds and water are highlighted in white gouache.

Verso: Partial landscape sketch showing the outlines of two converging mountain ridges, and a view of the ocean between them.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, 1738–61
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features arms and armor, a central framed cartouche with a boar's head, intertwined with foliate branches, a net, and horns hanging from a tied ribbon and the net from a dog's head. The plate is signed and numbered.
Ceiling with Jupiter, Juno, and Other Deities
Giovanni Odazzi, 1663 – 1731, 1718–30
Pen and brown ink, brush and watercolor, over graphite on heavy white laid paper
Drawing

Squared for transfer in black chalk.
Study for Fresco Decoration, Quirinal Palace, Rome
Francesco Manno, Italian, 1754 - 1831, 1815–16
Brush and gray wash, pen and brown ink, black chalk on paper
Drawing

Ornamental motif with figures and putti bearing papal insignia.
Garden Design
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for an ornamental garden with scroll and floral motifs and topiary. The plate is numbered with a backward "2" but not signed.