biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Half-tone Engraving: How to Obtain a Patent, Copp & Co. Patent Attorneys, Washington, D.C.
James Henry Moser, Canadian, 1854–1913, 1898
Pen and black ink, brush and gouache, graphite on paper, laid down on brown board
Drawing

At top, on a banner across a shield: HOW TO OBTAIN / A PATENT. Photograph below of the Patent Office in Washington, D.C. On either side, circular portraits of three American inventors, with HOWE, BELL, and EDISON at left and FRANKLIN, McCORMICK, and MORSE at right. Below: COPP & CO. / PATENT ATTORNEYS / WASHINGTON D.C. Statue of Liberty, lower left, and Washington Monument, lower right.
Border
, early 19th century
Technique: bobbin lace

Bobbin lace border, floral borders; early 19th century Point de Lille
Cover
, 18th century
silk embroidery; linen ground Technique: stem, satin, roumanian and buttonhole embroidery stitches on plain weave

White cloth embroidered with a design of a tea pot, a tea caddy, another container and eight cups without handles in two blues, two greens, red, pink and yellow. A 2 1/4 inch floral border in the same colors on all four sides. A flowering plant in the same colors rises diagonally from each corner.
Sidewall
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1890–1910
Machine-printed on paper

Floral medallions enclosed within diaper pattern formed with scrolls and foliate sprigs. Printed in salmon, green, ocher and metallic gold on beige ground. Printed in selvedge: "Benton, Heath & Co. 1076".
The Holy Family
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1620–30
Graphite, red chalk, pen and ink, brush and sepia wash on paper
Drawing

The Holy Family, with the Christ Child and St. John, are grouped near a tree (composition indicated as circular). Below, a reclining male nude and child. Verso: studies of twelve heads of mother and child, and a bearded man.
Sidewall
, 1840
Block-printed paper

Gray and yellow scrollwork with vases with jewelled decoration. Twisting leaves and ropes of flowers and fruit. Printed on glazed blue ground.
Vase
Rookwood Pottery, American, 1880 - 1967, 1883
earthenware
vase

Straight-sided cylindrical vase with flat foot and lip.  Around base a 1 1/8 inch band of incised trilobe leaves, outlined in blue.  Around vase, incised line spiraling upward to lip, upon which are seated nine stylized children in  various postures, each with hair standing on end.  All figures with incised outlines filled with cobalt blue.  Vase glazed overall (interior and exterior) in grey-green color with fine crackle.
Sampler
Ann Porter Bent, English, 19th century
silk embroidery on wool foundation Technique: embroidered in cross stitches on plain weave foundation

With a curving strawberry border text: "Blest truth descend and dwell within my heart/ O shed thy beams and never more depart/ Then when of self or others I may speak/ My words shall be sincere and kind and meek."  Then a signature.
Fork
, ca. 1650
Steel, horn, mother-of-pearl, brass

Two-tined fork, curved shoulders and baluster neck. Handle hexagonal in section; bone inlaid with circular motifs of mother-of-pearl and brass. Brass mounts decorated with circular motifs.
Sketches in Canebec
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Dormer window, left; a rowboat, lower center; figures, right; sailboat on a lake, upper right.
Sampler
, 1737
silk embroidery on linen foundation Technique: embroidered in long-armed cross, two-sided cross, and double running stitches on plain weave foundation

Several motifs from Sibmacher.  Standing woman in center.
Fragment
, 16th–17th century
linen Technique: grid of laid cords with needle lace, reticella style

Fragment of a border with tabs containing small concentric circles and wheel-shapes.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small stylized tulips enclosed by art-nouveau medalions.  Alternating coils. Green stripe on top and bottom. Printed in green, white, tan, and metalic gold.
Study of a seated woman in costume
Elihu Vedder, American, 1836 – 1923, ca. 1890
Black crayon on salmon-pink paper
Drawing

Horizontal rectangle. Seated figure of a woman in costume, seen from the back.
Border
, 1835–1900
Block-printed on continuous paper

Very crudely printed design of beading, widely spaced, alternating between round and oblong oval beads.  Above this is a solid band of black. Printed in black on yellow ocher ground.

H# 511
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Loop attached to pear shaped tassel from which hang four elements in shape of human figures, attached to one another. From tassel, bottom center, hangs another knotted element.
I Stood by Speechless in My Bewilderment
Howard Chandler Christy, American, 1872 - 1952, 1900
Ink on paper
Print

Trial proof for illustration. An elderly lady embraces a young woman, while a young bearded man stands by, hat in hand.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene with three figures in a pink-hued landscape. Man at left, wearing striped turban and red pants, doffs his hat for two women at right who wear white dresses and turbans; one of them women also wears a sunhat over her turban.
Frieze
Philadelphia Wall Paper Mills, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small foliate medallions. The small medallion connects to an undulating line which breaks into a key pattern and has accents of acanthus leaves. A series of large flowers runs across the bottom. Printed in white and shades of green.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

All-over design, small scale, roller printed; honeysuckle in rose-brown with green leaves. The green is direct. Glazed.
Border
, 1860–1900

Borders with polished paper.  Row of pointed arches, beading.
Fragment with factory stamp
Miles & Edwards, 1847, ca. 1830
cotton Technique: block printed on plain weave foundation. Block registration marks are visible. Blocks for ten different colors were used. Four bands of red weft (now faded) were woven into fabric at heading.

Factory mark at one end. Large scale pattern of polychrome baskets of flowers and ribbons.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Large foliate scrolls alternate with floral bouquet on shorter scroll. Trellis work near bottom edge, with band of floral rope at bottom. Background shades from light yellow-green at top to green to tan at bottom.
King of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

King of Spades court playing card from a pack of transformation playing cards. A colorful African chief figure shown in traditional costume, holding a spear and shield and with a large headdress. His body is covered with tattoos. Exotic landscape in background. At upper left, a spade topped with a crown.
Debating Society, Piccadilly, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Large, almost windowless room, with seats in stands along the sides. Tables and benches center; the moderator at the rear at a lectern. Title, artists', and publisher's names below.
Textile
, 19th century
silk, cotton, metal strips Technique: cut supplementary warp pile (velvet) in a plain weave cotton foundation, extra weft floats

Five pieces of velvet forming a panel. Elaborate floral groups with leaves and vines in dark green velvet on a yellow and gold background. On face, extra weft floats of yellow silk alternating with metal strips.
Folding Spoon From Traveling Cutlery Set
, ca. 1700–50
brass
spoon

1985-103-258/260: Sabre-shaped blade, pistol-shaped brass handle wit...;     1985-103-258: Sabre-shaped blade, pistol-shaped brass handle wit...;     1985-103-259: Oval-shaped spoon bowl, plain flat neck has small ...;     1985-103-260: Fork has two long tines, slightly bending outwards...
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Small and large green and dark red anthemions, outlined with c-scrolls in pink, on beige ground.
Sampler
, 18th century
silk embroidery on linen foundation Technique: embroidered in withdrawn element work with satin, cross, double running, four-sided and long-armed cross stitches on plain weave foundation

Bands of pattern in two columns.
Pleated fan
, 18th century
Parchment leaf painted in gouache, carved and pierced mother-of-pearl sticks overlaid with gold and silver foil, rivet set with a faceted stone

Pleated fan. Parchment leaf painted in gouache. Obverse: a classical Roman scene set in the Roman forum. In the foreground, a man (Marcus) points out a maiden (Virginia), accompanied by her nurse, to three judges (Appius and his colleagues). An agitated figure in shadow possibly represents her father hastening to her. Reverse: floral border around classical landscape with a pointing man and seated woman. Mother-of-pearl sticks, carved and pierced with garlands, and urns overlaid with gold and silver foil.  Guards with design of two amorini youth, a youth with lyre and garlands. Rivet is set with a faceted green translucent stone.
Advertisement for the "National Union of the United Brewery Workmen"
Whitehead & Hoag Company, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, rounded corners, image/text reads horizontally, inscribed "National Union of the United Brewery Workmen of the U.S. Affiliated with the A.F. of L., Headquarters: Rooms 109-110, Odd-Fellows Bldg., Cincinnati, O.," all in alternating type-faces in black and red, image of brown and black wooden barrel at center, with blue and yellow highlights, inscribed in very small letters on red "Union Beer." Lower side panel inscribed "United We Stand," upper side panel inscribed "Divide and We Fall." Reverse inscribed "This label should be pasted on every package containing Beer, Ale, or Porter, as the only guarantee that said package contains beverages produced by Union Labor." Central reserve features facimile of red label, featuring blue coat of arms flanked by inscription "UNION" and "BEER", the rest inscribed "National Union of the United Brewery Workmen of the United States." Lid hinged on long side. Striker in recessed groove on bottom.
Tobacco Jar
Vergulde Bloempot [de] (the Golden Flowerpot), ca. 1735–65
Tin-glazed earthenware
jar

Ovoid body, short neck with everted rim; painted in underglaze blue on white with American Indian smoking a pipe, next to a large jar inscribed "Schosse," large tobacco plant overhead, crates and barrels left, one inscribed "VOC," two sailing ships on right.
Plaque
, 1675–1725
Tin-glazed earthenware

Shaped oval plaque with raised border; painted in underglaze blue on white with domestic scene of woman and child at spinning wheel, diaper and vine border; back unglazed.
Tassel
, 17th century
linen Technique: braided and knotted

Tiny tassel of linen, braided and knotted. Double loops attached to short stem terminating in small round ball which is entirely covered with clusters made of small knots.
Trompe l'Oeil Painting, Decoration for the Staircase, De Voorst, The Netherlands, Plate from "Nouveaux livres de peintures de salles et d'Escaliers"
Arnold Joost van Keppel, ca. 1700
Etching on white laid paper
Print

Alcove decorated with male and female Classical figures before a planned garden with trompe l'oeil ceiling depicting wind and clouds.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

On tan ground, staggered medallions in arabesque form framed by scrolls containing turquoise ground with geometric structure.
Plate from Frises, Feuillages et Grotesques (Friezes, Foliage and Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1645
Etching on laid paper
Print

Horizontal rectangle showing a frieze composed of scrolling arabesques. At center, two lovers with bodies terminating in acanthus leaves embrace. At left, a snake; at right, a swan. Below, a man's face in profile.
Design for an Andiron
Jean François Forty, active 1775 – 1790, ca. 1780
Etching and engraving on laid paper
Print

Fifth plate from a series of six designs for andirons. The andiron features a lion with an acanthus leaf scroll intertwined with sprigs of leaves, and rosettes. The base is decorated with friezes, beading, and fluting. The plate is numbered, lettered, and signed.
Sécrétaire à Archives
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a secretary style chest for the keeping of documents. The chest features sixteen vertically stacked slim drawers, and is decorated with ornament motifs including garland, drapery, and lion mascaron. The plate is signed and numbered.
Project for a Tented Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Tented alcove. The central portion is circular. Two gatherings of drapery form and entryway. The roof is pointed, with a cresting of feathers. The wall behind is draped with textiles.
Ceiling Design for Numa Pompilius Welcomed to Rome after his Election, Sala di Numa Pompilio, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and brown wash over black chalk on white laid paper
Drawing

Numa accompanied by two mace bearers, shown in profile near altar, with crowds at left and upon Capitoline stairs.
Design for a Woven or Printed Fabric or Wallaper
, 1815–1840
Graphite, brush and purple watercolor on paper
Drawing

Escutcheon in Neo-Rococo style with evergreens and festoons of flowers. The left half of an escutcheon and part of the plant design are shown. Verso: graphite lines and blotters of crayon sketches of escutcheons.
Woman with Lyre
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black and brown crayon, charcoal on on off-white laid paper
Drawing

At center, within a circular frame, a bust of a woman holding the head of a lyre with her right hand. The female figure is shown against an oblong narrow background framed by a moulding consisting of two outstretched female angels, their wings crossing at upper center. Below, the head of a putti and wings. Vegetal and floral motifs in the background, two series of rectangular framing lines.
Design for a Woven Fabric
, 1825–1850
Brush and gouche on oily tracing paper
Drawing

Boughs connect six fantastical flower motifs, which are disposed in two horizontal rows. A flower bunch grows from a big shell, bottom left.
Design for a Lighthouse
A. Le Canu, French, active 1746 – 1768, 1760–75
Etching and engraving on laid paper
Print

Design for a Neoclassical lighthouse with a brick and a vermiculated rusticated façade. Columns framing the central portico entrance to the door with a garland of laurel leaves hanging above. The tower in the shape of an obelisk with large panels on each side. Topped with a smoking / flaming urn or vase within a trellised structure with a domed roof. Clouds in the background and steps leading up to the lighthouse. A scale below the design. The plate is titled, numbered, and signed.
Four Designs for Sepulchral Monuments
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Above: Elevation of a wall with a great niche in the center. In its stands a sarcophagus supported by two lions. Above it is a niche with a statue of a sitting person. The lower part of the wall has angular niches with statues; the upper part has ovoidal niches with busts. Steps lead to the protruding central parts. Above the entablature are laterally trophies of arms; in the middle, a pedestal with an escutcheon supported by two figures on top. Lower row, at left: the left sides of a quadrangular sarcophagus supported by a crouching griffon holding a disk with a multiple star. Beside it is the elevation of an angular niche having in front two columns. In front of the lateral walls are trophies. The sarcophagus stands at the back wall. On top is a high pedestal with a relief and the escutcheon as above. At right: the left side of a sarcophagus as at left supported by a crouching lion upon a vase. Colored background.
Two Panel Designs
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

Two designs for ornamental panels printed on the same plate, side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, festoons of flowers, palm leaves, c-scrolls, fans, feathers, platforms, vases of flowers and leaves, drapery, birds, and a terminal figure. Within the frames are trees, vases, figures, and leaves, suggesting a fantastical garden landscape. The design to the left has a water feature in the foreground with two birds. The design to the right has two figures, one riding a dragon or bird creature stemming from a plinth. The plate is numbered and signed.
Button
, 19th century
Brass

Convex button with ornament of a crown over a motif of folded leaves with a dot between. On reverse: "Moos Paris Bertelli Torion". Probably made for an Italian family.

On card E
Sampler
, 1848–49
cotton, linen, and silk embroidery, glass beads, linen foundation Technique: withdrawn element work and cutwork with needle lace fillings; embroidered beadwork; plain weave foundation

Square sampler with brightly colored glass bead embroidery. The center square, lower third and left edge are beadwork, predominantly in floral and animal motifs. The upper third and right edge are made up of examples of withdrawn element and cut work embroidery patterns. The sampler is unfinished.
Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of several sharp mountains in Mexico. Across a flat and largely unrendered foreground, a short, pointed mountain rises in the middle distance at center, as two other sharp summits flank it at left and right. Mountains generally ascend to the upper left, where a tall and rugged mountain is visible.
Ornamental Frame Design
Jean-Baptiste Fay, French, active 1765 – 1790s, 1784–1792
Etching on laid paper
Print

Design for a rectangular frame with motifs including attributes of geometry and travel including globes, telescopes, compasses, and maps, as well as garland, scrolls, acanthus leaves, bead course, ribbon, and lamb tongue. The plate is signed.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a man in uniform.
Designs for Oil Lamps
, early 19th century
Pen and black ink, brush and wash, graphite on paper
Drawing

Horizontal rectangle. Designs for a standing and a hanging oil lamp. At left, a Corinthian column, around the shaft of which a laurel bough is wound, rises from a base which is supported by knobs. The column supports the lamp at top, which is shaped like a bossed urn with two spouts laterally. At top right, a lamp with two spouts hangs on two chains from a metal plate which is hanging on a chain. A cover rising from the central part of the lamp hangs on a chain from the bottom of the plate. Both lamps are lighted.
Design for a Balustrade (Rail)
Gabriel Bonthomme, France, active ca. 1775, ca. 1775
Etching on paper
Print

Design for a wrought iron balcony rail (or section of a balustrade) featuring leaves, c-scrolls, and circles. The plate is signed.
View from Great Head, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850
Brush and oil, graphite on tan wove paper
Drawing

Landscape and seascape sketch overlooking the ocean from an elevated perspective atop a cliff on Great Head in Mt. Desert Island, Maine. In the foreground, the dark and rugged rocks that comprise the cliffs are visible at left and right, with a small inlet of ocean water between them. The ocean's rippling surface extends from the middle distance to the flat horizon in the background, where the white sails of three boats are barely visible. Above, the sky is predominately filled with gray clouds. The lateritious (brick-colored) ground is visible along the lower margin.
Textile
, 19th century
piña (pineapple) fiber, cotton Technique: plain weave

Sheer white pineapple fiber ground with a check of orange cotton outlined with white cotton.
Fragment
, 18th century
silk, metallic thread Technique: plain compound cloth with supplementary weft

Flower brocaded in thick rust colored chenille thread and silk on a background trellis pattern in metallic threads.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs. Both designs have overmantel mirrors. The mantel on the left features a clock in the center with figurative candelabra on either side; the mantel on the right, a figurative candelabra in the center. Between the chimneypieces is a panel of grotesque ornamentation. The plate is not signed but is lettered "I."
Study of Ruxton, Colorado
Thomas Moran, American, b. Britain, 1837–1926, June 7, 1901
Brush and gray wash, graphite on cream-colored wove paper
Drawing

Vertical view of a boulder-filled gorge with a stream in the foreground. Scenic view of mountainside with pine trees.
Bureau à l'Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk with ornament motifs including fluting on the legs, acanthus leaves and gadrooning at the feet, and bands of lamb tongue framing interspersed with rosettes. The plate is signed.
Designs and Sketches for a Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

A pyramid contains the octagonal sepulchral chamber which is accessible through four corridors. These project from the pyramid, as is shown in a sketch of the elevation, and in a section, above, at left. They do not project in a sketched plan, below, at left, and in a plan showing double colonnades surrounding the pyramid on three sides, center top. Center: an elevation. A Doric colonnade with statues upon a parapet, borders the platform which is reached by stairs, flanked by parapets with altars. Above at right: an elevation. A colonnade with pavilions at the corners surrounds the pyramid. Slightly colored background.
Maison de Campagne bâtie dans les environs de Noyen pour Mr Vincents par Mr Ollivier Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a country house with two exterior elevations, a section view of the interiors, three floor plans for the ground floor, first, and, second floors, along with a general plan of the building within its surrounding landscape. The house features neoclassical motifs, columns, friezes, statues, and decorative paneling. The plate is titled, numbered, and signed.
Necklace
, 19th century
coral, silver, gold

Silver chain with pendants of coral set in silver filigree alternating with gold disks.
Design for ceiling decoration
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown washon off-white laid paper, lined
Drawing

Two friezes, likely for the Winter Bedroom in the Palazzo Altieri, Rome.
Strapwork Grotesque with Mythological Scene
Pieter van der Heyden, Flemish, 1530 - 1572, 1566
Engraving on laid paper
Print

Vertical rectangle showing strapwork design. At center, Prometheus on Mount Caucasus. Above, a pair of satyrs holding clusters of fruit. Below, putti with masks and an owl.
Portrait of a Young Man
Jean-Baptiste Joseph Wicar, French, 1762 – 1834, ca. 1795
Graphite on blue-gray wove paper
Drawing

Bust portrait of a young man, in three-quater view facing left.