biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Design of poppy flowers on stems, alternating between high and low. Band of wave scroll or guilloche along bottom edge. Art nouveau style design.
Textile
, 19th century
cotton Technique: stenciled resist (katazome) on plain weave

Length of stencil resist (katazome) with ivory pattern on blue dotted ground. Three different full-face flowers and dotted tendrils.
Band
, 17th century
silk on linen Technique: variation of cross stitch on plain weave

Pattern of curving plant and leaves in red silk on linen. Traces of overcastting and knotted decorative seam are at the top and bottom of the piece.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed

Art nouveau; three small tulips on long stems enclosed in large curved tulip leaves. The motif is set into a vertical stripe, two inches wide in 4 1/2 inch repeat. 5 1/4 inch stripes fill the space between the large stripes. Printed in shades of green and gold mica on a light green background.
Plate, from the "The Secret Village of Mice" Set
Pillivuyt & Cie, French, established ca. 1818, ca. 1867
hard paste porcelain, vitreous enamel, gold
plate

A white plate with a gold lip depicting a mouse sitting on a tree stump, playing the guitar with a mountain in the background.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

A scrolling acanthus leaf and flower design, repetitive in a wave-like formation on a cream ground with one rinceau border. Printed in cream, beige, gray, mica and gilt.
Fork with Ornately Engraved Handle
, ca. 1621
silver
fork

Four slightly curved, pointed tines, sloping shoulders and long baluster neck. Tapered handle with flat sides, open scrolls at the top. Engraved figural designs: two figures on front and back, one holding cross, wear making figures unidentifiable. Illegible inscriptions below each figure.
Exhibition of Watercolored Drawings, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Drawings in heavy gilt frames cover the walls of two rooms. People in groups examining them. Title, artists', and publisher's names below.
Rabbit in the Moon
, 17th century
silk, metal threads Technique: embroidered in pattern darning, satin and couching stitches on gauze-weave foundation
Medallion

Circular medallion with a frame and a pictorial center. The frame contains a landscape with cloud motifs embroidered in polychrome silks on a green ground. In the center, a white rabbit is standing in front of small building with trees, stirring a blue vessel with a long spoon. The rabbit beating the elixir of life is often shown on the robe of a T'aoist priest.
Border
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Block-printed

Wallpaper roll.
Printed two across, large red and yellow roses with foliage, with small blue daisy-like flowers interspersed.
Cut paper
, ca. 1850
Gold-leaf embossed on white paper

A frame with inner corners chamfered in curves and decorated with scroll-work and panels showing stylized leaves.
Sidewall
Kayser & Allman, 1905–1915
Machine-printed paper, liquid mica

On gray ground, central scroll motif containing cluster of roses; some garlands, scrolls, c-curves, and vines. Printed in white and metallic gold.
Knife with Gryphon's Head Engraving
, ca. 1700
silver, steel
knife

Scimitar-shaped blade, shaped bolster. Tapered plain silver cylindrical seamed handle with rounded end and raised button. Engraved with unidentified crest depicting a gryphon's head.
Sidewall
, 1875–99
Machine-printed

Design shows William Morris influence. Peonies, crocuses, tulips, acanthus leaves, done in monochrome shades; light and dark olive green on pale mustard ground.
olive on mustard
Textile
, 1825–1850
silk Technique: woven

Silk border or flounce has a lace-like floral and diaper pattern with black rosettes against a grey ground. One green warp; two wefts, black and green, both used for patterning.
Design for a Chinese Pavilion
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on paper
Drawing

An octagonal structure elevated on a podium, columns supporting the two-tiered pagoda roof. A narrow porch surrounds the enclosed inner cove of the building. A short flight of steps leads up to the pavilion's entrance.
Cavalcade de Longchamp
, 1810–1815
Engraving, brush and watercolor on paper
Print

Two fops riding drafting horses, one down on its knees. At top: title. Below: " Le Bon Genre, No. 3" and " Déposé à la Bibliot[heque] Nat[tionale]…Rue Monmartre, No. 132."
Seven of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Seven of Spades playing card from a pack of transformation playing cards. Vertically, a scene with two male figures developing a liquid solution, the spades integrated into the features of the men and the machinery. At bottom, a seated man wearing glasses stirs a small pot. At center, a man whose face is made of a spade uses a bellows (made of a spade) to blow air into a machine. At right, a machine with tubes, a bottle, steam, and a faucet.
Game of Yellowstone No. 1122
The Cincinnati Game Company, Cincinnati, Ohio, USA, ca. 1890
Photomechanical reproductions on laminated paper, cardboard box
Playing cards

Deck of 52 playing cards with half-tone photoillustrations of the scenic wonders of Yellowstone National Park. Uniform decoration on backs of buffalo and wild flowers. Gray cardboard box with gilded lettering and one card listing other games by the same company. Cards are oriented both horizontally and vertically with printed text describing each scene.
Sidewall and frieze
M.H. Birge & Sons Co., 1834, 1905–1920
Machine-printed paper

a) On textured, moire paper, shiny pastel green ground powdered with chartreuse shamrocks. Dominant pattern: three vertical bands of tiny pink roses and green ribbons; b) Crown frieze: continuation of "a". Pointed arches formed from the rose bands; green striped fill above. At top edge, horizontal band formed of pink rose buds.
Fragment
, late 16th–early 17th century
silk and metal

Green silk brocaded in gold.
Sidewall
J.J.L. and Co., 1870–90
Machine-printed

On off-white ground, pale yellow and metallic gold flowers on green leafed stems alternate in an all-over pattern. (chrysanthemums?)
Pair of bowls
, 1662–1722
Glazed porcelain

Deep bowls on band foot with sides flaring slightly outward, mottled green, grown and yellow glaze. Each base of bowl has underglaze double line in blue with underglaze mark, prinked in black.
Inconvenient des Eperons dans les magasins de nouveauté
Genty, French, active 19th c., 1810–1815
Engraving, brush and watercolor on paper
Print

Shop scene. While the clerk removes a bolt of cloth from the shelf, his spur catches on a woman's skirt. Another clerk cuts a piece from a bolt. Below, nine-line verse (in French). Title at top.
Cravat end
, mid-18th century
linen Technique: bobbin lace, Brussels style

Fine lace cravat end depicting Cupid with a bow and arrow standing in a fountain in which swans are swimming; surrounded by an elaborate framing of swags and tassels, exotic foliage and birds.
ceiling paper
F. E. James Co., New York, New York, 1887–95
Machine-printed on paper

A series of approximately circular figures, the largest of which has scrolled frame with red center motifs. Printed in gold, white and red on dull yellow embossed ground.
Sampler
Teresa Alva Gimenez Grazalema, 1854
Technique: embroidered

Rectangular embroidery sampler with tassels at the four corners and three bands of different instances of the alphabet. Below the alphabet is one band showing a human (hunter), dog, flowers, house, and bird and another band of flowers. At the bottom the piece reads: "Lo Hizo Teresa Alvares y Gimenez Grazalema 22 de Febrero de 1854"
Translation: "Made by Teresa Alvares y Gimenez Grazalema February 22, 1854"
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

Lemon ground with small "cone" of flowers surrounded by tiny branches; fairly widely spaced. In red, pink, blue, lavender, green, tan.
Christ on the Cross (The Crucifixion), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Christ is on the cross in the center of the composition, facing the spectator. The holy women and Saint John standing at left, Mary Magdalen kneels at the feet of Christ, her left hand covering her face. Soldiers at right. Monogram of Dürer on stone, near lower right.
The Four Elements: Earth, Water, Air, Fire
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Page divided into four quadrants with allegorical figures.
Button
, 1875–1914
Hoof, brass

Convex button ornamented in design showing breastplate and helmet of steel armor surrounded by a border of radial lines. Marking on reverse indecipherable. Button worn by railroad men in time of war.

On card E
Design for an Altar
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Plan and elevation of an altar. The base of the altar is carved with a crown of thorns and foliage; above the base if a carved cartouche with an image of a chalice. In the center of the altar is a rectangular painting, of what appears to be a Christian martyr and Roman soldier. The pediment of the altar has a dove carved in the center; the pediment is topped by scrolling acanthus leaves and a cross. The plate is signed and numbered, and a graphite inscription at the right side of the page indicates that this was for a Chapel dedicated to St. Crépien and St. Crépinien.
Decorative door boss and nail
, 17th century
Wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Round, bell-shaped nail head on square shank.
Headdress
Robert Frederick Blum, American, 1857–1903, 1880–1881
Graphite on wove paper
Drawing

Three sketches of a figure wearing a headdress.
Profil et Elévation d'une Voyelle [et] Duchesse brisée ou Chaise longue
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Profile of a Voyelle chair, as well as an elevation of the chair back and a plan of its seat. This type of chair was used for game playing, where an individual could kneel on the seat and lean against the back to better see the table where games were being played. The plate also features a design for a long lounging chair. The plate is signed and numbered.
Sidewall and borders
, 1780–85
Block-printed on handmade paper

Vertical rectangle. Woman in a red-skirted dress, feeding chickens. Across the bottom is a border of butterflies; across the top a border of festooned flowers and foliage; above this, and along the two sides, a border of simulated cyma reversa molding.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Two designs for cartouches. The cartouche on the left has on its top Father Time and a winged putto. The cartouche on the right has to its sides braided tassels. Both plates are signed and numbered.
Staircase Balustrade Design
Laurent Desboeufs de Saint-Laurent, French, active 1763 – 1776, 1772–77
Etching and engraving on paper
Print

A design for a wrought-iron staircase balustrade featuring a wave pattern, ovals, rosettes, scrolling leaves, acanthus leaves, and fleurons with a sculpted vase newel finial decorated with gadrooning. There is a set of double doors to the left, below the staircase. The plate is numbered and signed.
Allegory of the Four Elements - Fire
Jacopo Amigoni, Italian, 1682–1752, 1739-1752
Etching and engraving on laid paper
Bound print

Vignette of a man and a woman in a landscape, fleeing from a building on fire behind them. The plate is trimmed and only the plate number is visible.
Console
Giuseppe Barberi, Italian, 1746–1809, ca. 1781
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below is an outlined molding, above a square and a round molding. In the front panel is the mask of a satyr, whose horns project laterally. Some strokes form other sketches.
Frieze
Robert Graves Co., New York, New York, 1890–1900
Machine-printed

Border; upper half consists of series of interwined gilt circles forming a geometric pattern. In center of each is a coral colored disc in light blue field. Lower portion consists of stylized stiff sprays, three stems each ofgilt leaves under a series of three petalled formal gray-olive leaf motifs all on a bisque field. Deep coral, gold and gilt lines top, botton and in center of border. "No. 1639, Robert Graves Co." printed in selvedge.
Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, June 12, 1865
Graphite and white gouache on gray wove paper
Drawing

Landscape sketch showing a sunset over mountainous terrain in Jamaica, with a separate figure sketch. At center, a cloud blocks the sun, whose light illuminates the cloud's edges. Sunbeams burst across the rugged landscape through a gap between the cloud and the mountaintops, rendered in bright white gouache. At upper left, a separate, floating figure sketch of a woman carrying a pot on her head is included.
Boutons de Meubles
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for four furniture knobs. The one on the upper left has bead course around the edge and stylized scrolling acanthus leaves within. The knob on the upper right has a band of small flowers around the edge, and an acanthus leaf rosette in the center. The knob on the lower left has ribbon twist on the outer edge, bead course, a field of small dots, bead course, and a small rosette in the center. The knob on the lower right has a bead course around the edge, and an acanthus leaf rosette within a lozenge in the center. The plate is signed and numbered.
Rank badge
, 15th–16th century
silk Technique: plain weave with discontinuous wefts (tapestry or k'ossu)

Half of a rank badge with parts of two white birds against a cloud background, in shades of blue, orange, yellow, and white on a gold ground.
Study for "The Annunciation"
Kenyon Cox, American, 1856–1919, ca. 1905
Graphite, pen and ink on paper
Drawing

Sketch of two window panels depicting the Annunciation; Left, a young figure is standing holding a lily, Right, the figure depicting the Virgin Mary is kneeling and a garden is shown in the background.
Ceres
Pierre-Paul Prud'hon, French, 1758–1823, ca. 1780
Pen and black ink, brush and blue and gray wash and white gouache on grayish-blue paper
Drawing

Ceres shown waslking toward right in wooded landscape. A second picture to the right hes been erased.
Mt. Mansfield at Stowe, Vermont
Daniel Huntington, American, 1816–1906, August 23, 1866
Graphite on grey paper
Drawing

River curving under bridge in foreground. Ridge and mountains beyond. Verso: Sketch of ferns.
Ornament with Figures
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on paper
Print

Architectural drawing with figures.
Pleated fan
, late 18th century
Parchment and silk leaf, gilded and painted with gouache, painted and gilded ivory and mother-of-pearl sticks, brilliant set in pin

Pleated fan. Parchment and silk leaf, gilded and painted with gouache. Obverse: scene of playing maidens against a ruin, in the style of Louis XVI. Rococo border of shells, latticework, foliage, fantastic forms and scenes. Reverse: plain silk. Sticks and guards careved, painted and filled with mother-of-pearl. Feather design and scenes.
Two Women Lashed to a Boat's Mast
Winslow Homer, American, 1836–1910, 1895
Graphite on paper
Drawing

Horizontal view of a portion of a boat's mast, to which two women are lashed and an Indication of two men in oilskins, and of high waves.
Stickpin with Bust of Moor
, late 19th century
onyx, gold, paste (glass), glass
stickpin

Design of a human head and shoulders, perhaps in black glass, representing a Moor with feathers on head, paste jewels in ears and around gold setting.
Garden and Street Elevations of a Small Palace
, 1814
Pen and ink, brush and watercolor on paper
Drawing

At left, garden elevation of a two-storied palace with seven bays in two ranges, and surmounted by a balustrade ornamented with urns and paired putti at the angles. At right, street elevation of the same building, with the portal and window over it featured by paired pilasters, carved panels of trophies and four urns breaking the roof balustrade.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Somewhat less than a quarter is shown. Pair of gaines support the octagonal central framing, over which the top part of an ovoidal colonnade is shown. An ovoidal niche with a bust fills an interval between the gaines. A semi-circular landscape under a pointed arch in the corner.
Ruins of the Mausoleum of Octavian Augustus, "Le Antichita Romane" II, 1756
Giovanni Battista Piranesi, Italian, 1720–1778, 1756
Etching
Print

Collection of architectural and sculptural fragmets.  A capitol on a carved socle, with an inset bust, an obelisk and a base bearing the inscription: "OSSA / AGRIPPINAE .M. AGRIPPA..." A small tree between the obelisk and the base.  Behind, a large circular structure, at a different scale.  Below, eight line inscription.  Inscribed, lower right: Piranesi Archit. dis.et inc.
Former Hachiman Shrine, Sunamura (Sunamura Moto-Hachiman) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

This bird's eye view looks out onto Edo Bay from the Moto-Hachiman Shrine. Directly below is the torii, the gateway entrance to the shrine, and two prominent figures along the pathway. One figure is shown carrying a big yellow hat while the other is smoking a pipe. The path continues behind these detailed figures between the marshes and leads out beyond the bay. Further along the trail, three more distinct characters stand, surrounded by tall pines, and a lone fisherman is spotted rowing his boat through the reeds. Soon after this print was made, the land was drained for rice paddy fields and other farmland. Today it remains part of Tokyo's Koto-Ku district.
Tree Trunk with Roots
Frederic Edwin Church, American, 1826–1900, probably 1848
Brush and oil, graphite on off-white paperboard
Drawing

Landscape and botanical sketch showing a view of the base of a pine tree within a dark forest, possibly in Vermont. At center, the tree's twisting roots wrap around a boulder, like fingers clutching a rock. The tree's stout trunk extends out of view at upper center. Moss is visible on the tree thoughout. Around it, leaves, soil, and other detritus on the forest floor are prominently visible. The gray-green ground is visible along the left margin.
Elevation of an alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of -1601, left row below. Beside the upper part of the tent are laterally parts of the wall. Above the lateral doors are large oval portraits of popes or cardinals, hanging at bowknots, in two alternative suggested sizes.
Bénitier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a scalloped vessel for Holy water, decorated with a handle formed from rinceaux and two cherub heads on a cloud at the base. The plate is signed and numbered.
Sewing cabinet
, mid-19th century
Papier maché, paint, gilt, ivory, mother-of-pearl

Cabinet with two doors; front painted with floral arrangements on black background, surrounded by two frames, one of gilt foliage and the other of mother-of-pearl. Top with scalloped edge and decorated with colored foliage.
Saint John the Baptist in Prison, Visited by his Disciples
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: St. John the Baptist looks out from behind the bars of a prison 
window. Two men stand outside, conversing with him.
Verso: In the foreground, a figure walks towards left, holding a platter. 
Behind, beneath a heavy curtain, are many reclining figures lying on couches surrounding a banquet table.
Design for an Urn
, late 18th century
Graphite on paper
Drawing

Elevation of urn with dancing women, bucranium and gadrooning.
Four Figures
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Red chalk on paper
Drawing

At left, a man is shown from the back, leaning on a parapet. At center, a crouching man is shown turning to the right. Top center: the bust of a man; at right, a seated man shown turning to the left.
Plan et Elévation Géometral d’une Porte Cochere
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Design for a set of exterior double doors decorated with rococo ornament and motifs. The doors feature central vertical curvilinear panels (boiseries) decorated with a lower clasp in the shape of a shell with foliate motifs, fleurons, and scrolling leaves (rinceaux). The lower panels of the doors are decorated withe geometric marquetry. The arched tympanum above the doors features shell, rocaille, and foliate motifs, festoons of flowers and glass panels. The whole is framed by smooth-faced rustication. There is a scale and plan view of the door below. The plate is titled and signed. Another copy of this print is bound in this album 1921-6-359-5.
Motif for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on paper
Drawing

A woman is shown from the front, seated upon clouds and raising a thread with both hands.
Design for Six Brooches
Girolamo Venturi, 1739
Black crayon, pen and dark ink, brush and watercolor, gold on paper
Drawing

Above, in center a large brooch, consisting of two parts connected by two enameled knots; above, with alternative suggestions, a rinceau of volutes and stems with leaves; below, in center, a pedestal with a large green and small white diamond above, bands and volutes composed of white diamonds and golden curves on the side. Intermixed are seven round diamonds and large green oval ones. Nine green drops. Below are five brooches of the "bunch type," the first with three green drops, the second and fourth with a white drop, the third with three red and two white drops, and the fifth with two white drops.
The Baptism of the Eunoch
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1641
Etching on paper
Print

In the foreground, right of center, the eunuch kneels, facing right in profile. The rite is being performed by a bearded figure s tanding beside him. A soldier on horseback, left.
Feu à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron decorated with ornament motifs including pinecone, rosettes, acanthus leaves, lamb tongue, garland, and a flame. The plate is signed.
Snuffbox Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Within a double-lined frame, a design for a snuffbox, showing the lid, in the upper center and the side below, with a scale in the lower center. The lid is decorated with a central trophy of musical instruments, flowers, and ribbons within a central cartouche, surrounded by a scale pattern, with two cartouches on either side with trophies of bows and arrows in quivers. The corners and sides are decorated with shells, leaves, scrolls and fleurons. The side of the box is decorated with a central cartouche depicting agricultural tools within a landscape framed by leaf scrolls, fleurons and shell motifs, with scrollwork, with acanthus leaves and rosettes, with a Greek key motif. The plate is numbered, signed, and dated.