biglam/cooper-hewitt-alt-text huggingface dataset:
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Floral wreath motifs surrounded by scrolls and floral swags. Printed on off-white ground.
Waistcoat
Robert et Cie, ca. 1799
silk fronts, linen back Technique: printed by engraved copper plate on 7&1 satin foundation

Yellow silk waistcoat printed in black with an elaborate neo-classical framing device containing scenes from mythology, portrait miniatures, and statues. Large medallion on the left proper side shows Narcissus gazing at his reflection in a pool of water. The other, on the right proper side, shows a reclining Ariadne as Theseus sails away, abandoning her on the island of Naxos.
Portree Harbor, Isle of Skye, Hebrides Islands, August 16, 1880
William Trost Richards, American, 1833–1905, 1880
Graphite on white wove paper, lined
Album page

Boats moored near land masses and distant mountains on the right and left side of composition.
Textile
, 19th century
cotton Technqiue: block printed on plain weave

Two fragments sewn together. Design of stripes and floral motifs in red, orange, blue and brown on natural background.
Personification of "Building," Study for the Dome of the Manufacturer's Building, World's Columbian Exposition, Chicago, IL
Kenyon Cox, American, 1856–1919, 1891
Brush and watercolor, white gouache, graphite on paper
Drawing

Mural study for pendentive. Female figure in a green dress, standing before a railing, her head turned over her shoulder to the left.
Sidewall
, 1855–60
Block-printed paper

a) In foreground, two men fish at the foot of a balustered bridge and stairway; a tower-like structure in right foreground. In background, a lake with a boat and a village on the opposite, mountainous shore. Shades of green, gray, and brown on a glossy white ground. Length includes two and one-half full repeats of scene; double-width; b) One and one-half repeats of above design.
Sidewall - sample
M.H. Birge & Sons Co., 1834, 1890–1910
Machine-printed

Geometric pattern printed on red paper: diamond diaper and stripes in red, ocher, blue, yellow and turquoise. The pattern overprinted with black wavy lines.
Border
, 1835–55
Block-printed and flocked on machine-made paper

Rope twist or cable molding design. Design consists of three twists of rust-colored flock with two twists of gray. The rust-color flock is overprinted with two colors. Printed in rust flock, orange, dark orange, shades of gray and white on a light gray ground. Printed five across.

H# 531A
Miser's purse
, early 19th century
silk, steel Technique: crocheted

Crocheted pale green silk decorated with gold and cut steel beads in diamond pattern. Two gold rings control side opening; twisted shell-shaped drops at each end.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Lattice of organic shapes with four-flower medallions. Yellow-beige ground. Printed in light pinks, light greens, brown and metallic gold. Printed in right selvedge: S.A. Maxwell & Co." Pattern number "2209"
Plate XLII from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Lecturn, adjustable in height (the leg, a screw, at left), and size. The shelf shown, upper center, cover, left center, and all-together at r ight. Description in Latin on verso of 1949-152-239.
The Gallery of H.M.S. Calcutta (Souvenir of a Ball on Shipboard)
James Joseph Tissot, French, 1836 – 1902, 1876
Drypoint on off-white wove paper
Print

Two women and a gentleman are shown standing on the deck of a ship leaning against the rail at right. In the distance, a view of a harbor with ships.
Pendant
, 18th century
silk, metallic thread Technique: embroidered on satin weave

Flat, shield-shaped pendant of white satin embroidered in gold and sequins. The pattern, identical on both sides, represents a monstrance with sprays of wheat at the sides, and a border of floral scrolls. Silk tufts at three corners. Loop of gold cord to hang.
Sidewall
, 1780
Block-printed on handmade paper

Repeating scene of a dog drinking at a fountain. The fountain is composed of an eagle or other large bird spewing water and a pair of dolphins. This scene alternates in drop repeat with spray of roses and other flowers. Printed in green, brown, yellow, blue, pinks, white on gray ground.
Band
, late 18th century
Technique: bobbin lace

Edge of bobbin lace, symmetrical plant forms; late 18th century Buckinghamshire.
Band
, late 17th–early 18th century
linen Technique: needle lace

Needlepoint lace border with Venetian Point and curving vine and foliage design.
Pleated fan
, 1780–90
Cut and painted paper leaf, ivory sticks with applied metallic foil

Pleated fan. Front leaf of die cut and painted paper showing oval and diamond-shaped panels, back leaf of die cut paper. Sticks of ivory with applied metallic foil.
Sketchbook Page: Chorus of Temple Guards
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Dialogue about a maiden and a temple.
Edge
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Border patterned with a garland intersected at intervals by floral sprays.
Temples of Hera I and II, Paestum, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on beige wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of the Temples of Hera I and II at Paestum, Italy. Positioned on a rise east of the Temples, the artist was facing westward, looking out to the sea--which here creates a flat horizon. At center, the Temple of Hera I is viewed obliquely, as is the Temple of Hera II, beside it at right. In the foreground at left a house with a window is visible beside a small, winding stream. In the middle distance and right, one tree is prominetly sketched with two others behind it at right. At upper center, a detail of the view out to sea, with a corner of one of the temples, is included.

Verso: Landscape sketch showing a loosely rendered view of the flat coastal landscape around Paestum, Italy, with bushes sketched throughout and the Temple of Hera II visible at far right.
Textile
, late 18th–early 19th century
silk Technique: compound satin

Yellow satin ground. Closely-spaced all-over design: elaborately scrolling leafy branches and decorative blossoms, in polychrome silk wefts. Very closely woven heavy fabric, started or stiffened on the back. Incomplete right selvedge.
Medallion or Frame Design
Théodore Bertren, active in France, 18th century, ca. 1771
Etching on laid paper
Print

Design for an oval medallion or frame featuring flowers, interlaced strapwork, a shell clasp, draped textile, quiver of arrows, flaming torch, and birds. The plate is numbered and signed with the artist's monogram.
Lit à la Polonnaise, à Tombeau
Pierre Ranson, French, 1736–1786, 1779-90
Etching and engraving on laid paper
Print

Design for a canopy bed (view from the footboard) with the posts bending inwards to support a smaller crown canopy (baldachin) above, topped with feather finials. The bed curtains are drawn back and tied to the posts with ropes. The headboard and footboard are the same height and decorated with floral motifs, with draped textiles. The plate is titled, numbered, and signed. A scale below.
Chandelier de Table terminé par une forme de Vase
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Design for a candlestick decorated with ornament motifs including lancet leaves, garland, bound leaf, ribbon, spiral fluting, tassel, and flowers. The plate is numbered.
Handkerchief
, 19th century
linen Technique: bobbin lace; embroidery

Linen center with the embroidered initials J.M.N. and border of bobbin lace in design of flowering branches.
Frame of a revered small painting
Giuseppe Barberi, Italian, 1746–1809, ca. 1773–1774
Pen and brown ink, brush and brown wash, graphite
Drawing

Four flying angels hold a wreath which surrounds the frame of the painting. It forms the center of a glory of rays beneath which is a paper scroll. Beneath, a woman in classical attire is shown putting upon or talking from a pedestal a pitcher. A crowd implores, or thanks her. Architectural setting, the upper part of which is not shown. Colored background.
A Seated Couple in a Landscape
François Boucher, French, 1703–1770, 1751
Etching on laid paper
Print

A pastoral scene with a seated couple by a tree surrounded by animals in a landscape. The man wearing a straw hat has a bagpipe or musette just behind him with a dog at his feet looking up towards him with a paw on his leg. The woman has her arm around the man and the two appear to be in conversation. There are two birds in a nest in the foreground to the right, with sheep in the background, along with trees and foliage. The plate is numbered and signed.
Porte pour le Sallon à l'Italienne Cotté CIX
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Divided design for a door for the Italian-style living room, designed by Oppenord in this series as plate CIX (1921-6-216-75). The left side of the plate features a full figure statue of a man atop a pedestal with mascaron, goat head, and garlands; above the closed door is a painting of mythological subject matter and carvings of sphinxes and grotesques. The right side of the panel has an open door looking out onto a garden with a statue of Venus in the manner of Botticelli; the door is framed by an engaged column with lion head mascarons and is topped by a crowned cartouche. The plate is signed and numbered.
Fragment
, 15th–17th century
silk, metallic, linen Technique: complementary weft 2/1 twill

Eight-pointed star made by interlaced squares on a beige and bronze background. Fleur de lis at star points and flower at center.
Design for a Column
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a fluted column with Ionic capital. The plate is signed and numbered.
Futakawa: Post House on Monkey Plain (Futakawa, Sarugababa tateba) from the Series 53 Stations of the Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

This scene shows a trail of people traveling up the road. At the base of the print is a rest stop where people can stop for tea or sustenance. Beyond the road is a lovely landscape scene which is typical in a Hiroshige print.
Barn and Haystack with Sycamore Trees, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Mixed sketches around Catskill, New York, showing views of a rustic barn at upper left, a roughly conical haystack at upper right, sycamore trees and other foliage at lower center, and, at lower right, a group of cows grazing on a hill beside a tall evergreen tree.

Verso: Botanical sketch showing a view of a single evergreen tree near the Catskill Mountain House near Haines Falls, New York (as indicated by the "M.H." at center). The tree rises along the central vertical axis as its branches are evenly spaced and its trunk is darkly rendered.
Corniche pour Chambre à coucher
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three cornices decorated with bands of ornament motifs including bound leaf, leaf and dart, lamb tongue, and egg and dart. The plate is signed.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels, a larger one in the center and a narrow one to the right. The panels feature arabesque motifs including scrolling acanthus leaves (rinceaux), fleurons, flowers, and a vase of flowers. The plate is numbered.
Aletsch Glacier, Bernese Alps, Switzerland
Frederic Edwin Church, American, 1826–1900, August 27, 1868
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing an oblique view of the Aletsch Glacier near Belalp, Switzerland, and the surrounding mountain ridges. At center, the rocky ridge upon which the artist stands extends directly into the distance. At right, the undulating, icy furrows of the slowly flowing glacier are rendered in white gouache. A nearby snowfield, or possibly another glacier, is visible at left. In the background at left and right, two rugged mountain peaks are shown.
Design for a Ceiling
, 18th century
Pen and ink, brush and wash on paper
Drawing

Irregularly shaped page. At top right, a curving moulding with triglyphs and seashells. Below, part of an undecorated square with half a horned mask at top center. To the left, two term figures flank a classical tablet. In front of this, a balustrade with a lion's head mask being framed by a laurel wreath.
Handkerchief
, 18th century
linen Technique: embroidered with lace border

Linen center with monogram J.M.N. and border of Mechlin lace in design of pendant flowers.
Houses near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 26, 1868
Graphite and white gouache on tan wove paper
drawing

Landscape and architecture sketch showing a view of two houses in a steep, wooded valley near Berchtesgaden, Bavaria, present day Germany. In the foreground at left, a large, three-storied house stands beside a curving road at left, and a small waterfall at right. The facade of another house is visible in the middle distance at center, near a descending ridge. At left and right, the steep, wooded slopes of a mountain valley are loosely rendered.
Design for Doors
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a set of double doors, doorcase and overdoor. The doors are composed of four framed sections. The upper section is carved in relief with a central shell ornamented with acanthus leaves and strapwork, the central large section is blank, with acanthus leaf ornament in the corners. Below, a small rectangular section, with a central rosette and interlaced scrolls, acanthus leaves and fleurons. The lower section is blank. The side panels of the doorcase are composed of three sections, with a carved rosette in the middle. The panels are ornamented in relief with fleurons, C-scrolls and strapwork. The overdoor is carved in relief with a central trophy, featuring arrows, quivers, a feathered helmet, shield, fronds, a shell, mascarons in profile with a fretwork cartouche below. The whole is framed by C-scolls, acanthus leaves, fleurons and sphinxes. The lintel above has a molding carved in relief with similar motifs. The plate is signed and numbered.
Custard Cup (Pot à Crème)
Bourg-la-Reine Porcelain Factory, French, ca. 1773 – 1805, ca. 1775
soft paste porcelain, vitreous enamel
cup

Cup full-bellied, with spiral ribbing and simple loop handle; domed, with twisted ray ribbing and knob in form of an apple with leaves. Decorated with floral sprays.
Interieur d'Ecurie á Samois
Jules Jacques Veyrassat, French, 1828 - 1893, 1876
Etching on light brown paper
Print

A white work horse, still in harness, stands facing left, inside a stable; a chicken and a container in front of him. Above, right, the artist's name and date and plate number (16). Below, the artist's and publisher's names and locations, and title.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-28: Part of a set of Italian Minchiate playing cards.50
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rococo cartouche design featuring scrolling foliage, acanthus leaves, fleurons, flowers, and smaller cartouches within the frame. The plate is numbered and lettered.
Trimming
, 19th century
silk Technique: woven

Pink and yellow trimming fragment in a design of an ornamented zigzag band.
Sunset in the Hudson Valley, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of the Hudson River and Valley, looking south from the vicinity of the artist's estate known as Olana. Wide section of the river--near the village of Catskill on opposite bank--is visible at lower right. Thin strip of land in left foreground. Terrain accross river rendered in a deep purple with silhouette of the Catskills visible in the distance. Setting sun visible between horizon and expansive cloud bank that stretches to upper margin of composition. Portion of vivid blue sky visible upper right corner.
Saint Sebastian, Detail of Polyptich with the Virgin Enthroned, Study after Dosso Dossi
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over traces of black chalk on white heavy wove paper
Sketchbook folio

St. Sebastian, tied to column, with shield and armor. On ground Saint Sebastian.
Eight Sacrificial Scenes
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and ink, brush and brown wash, red chalk on textured laid paper
Drawing

In four rows, caption above. Top row, left, shepherd and shepherdess revering hermae. Top row, right, preparation of sacrifice; man gives something to priestess while another runs with lighted torch. Second row, left: two men play skittles. At right, woman and man carry sheaf to hermae, beside child with tambourine. Woman with bunch of grapes followed by running animal. At right, woman pours from jar into bowl held by putto. man with load of grapes follows. Bottom row, left: Romulus and Remus with she-wolf near river-god. Woman brings offering to altar, which bears letters SPQ. At right, priestess points towards hermae behind altar, speaks to kneeling girl. Verso: in black chalk: psiche adorata per venere/ pische sede/ amore 3 psiche nel inferno 4 nozze de piche.
Design for Fountain with Putto Riding a Dolphin
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a fountain in the form of an irregular cartouche, decorated with merfigures and a dolphin. The fountain is set in a landscape in front of a set of stairs and architectural feature. The plate is signed and numbered.
Impériale en Coupole avec un fond Ovale
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a bed canopy in the form of a cupola with an oval base, with plan, elevation, and cross-section. The plate is signed and numbered.
Design for Fountain with a Couple
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a fountain in the form of a shell cartouche with sirens and rinceaux. In front of the fountain, a male and a female figure sit on  balustrade in fancy costume, playing music. The plate is signed and numbered.
Design for Doors
Pierre Lepautre, French, 1652–1716, 1686–1716
Etching and engraving on laid paper
Print

Sixth plate from a series of designs of portes-cochères (doors), newly made for various French royal houses. Highly ornamented arched double doors with a different choice of decoration on each door. The lunette or tympanum features a central roundel with the French royal coat of arms framed by curved triangular panels with patterned border moldings. The left panel features a feathered helmet. Below a lintel with a running pattern of fleurons, fleurs-de-lys, scrolling acanthus leaves and strapwork. Below a central corbel and central masks on either side, with festoons of flowers. Each door features three panels and an upper frieze. The right side is decorated with a frieze of rosettes with blank panels below framed by patterned border moldings featuring fleurs-de-lys, lamb's tongue, and foliate motifs. The left side features the same framed panels but with sculpted motifs in the center of each panel. Above, a crown with palm leaves, in the center a winged putto blowing a horn while sitting on arms and armor, and below a trophy of arms and armor. The frieze above the left door features fluting, lamb's tongue, and acanthus leaves. The exterior walls surrounding the door are finished with horizontal banded rustication. The plate is signed and numbered, with a scale below.
Textile
, late 19th century
cotton Technique: plain weave (more open weave); possibly Z/Z twist

Yarn-dyed woven pattern of large brown, purple, blue, yellow, and white.
Head of a man in the style of Frans Hals
Homer Dodge Martin, American, 1836 - 1897, ca. 1860
Pen and bistre ink on light brown paper
Drawing

Man in large hat looking over left shoulder at spectator. Body outlined to waist.
Fireplace (Chimney Piece and Mantel) Design
Jean Mondon, French, fl. 1736 – 1745, 1749
Etching and engraving on laid paper
Print

Design for a chimneypiece, overmantel mirror and boiseries (paneling) decorated with rococo ornament and motifs featuring shells, flowers, vases, cartouches, festoons of flowers, rosettes, c-scrolls, fleurons, leaves, and scrolling leaves (rinceaux). The mantel features two supporting putti, with scrolling festoons of flowers and a central cartouche. The chimney-piece is flanked by two narrow vertical panels, and a dado level. The overmantel mirror is topped with a panel featuring a trophy with a bow and flaming torch. The plate is numbered and signed.
The Retreat
Victor Vincent Adam, French, 1801 – 1866, 1835-1840
Pen and ink, brush and sepia wash, brush and Chinese white on paper
Drawing

Arabs on horseback fleeing toward left. At right, a group of soldiers.
Teapot (Théière)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 1755–1765
soft paste porcelain, vitreous enamel, silver
teapot

Ovoid body with ear-shaped handle. Floral finial on lid and painted floral decoration on lid and body. Oxidized silver at rim, spout and lower handle.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Roughs with leaves and a cone each, directed toward left, for a strip over a row of leaves with seeds.
Design for a Setting of the Exhibition of the Host
, ca. 1700
Black chalk, brush and gray and black watercolor on laid paper
Drawing

Vertical rectangle. The left half of an architectural interior with baldachin is shown. Three flights of eight step, each lead to a platform showing an atrium. A scaffolding with the monstrance stands in the center.
Fragment
, 18th century
silk; tempera Technique: painted on satin weave

White ground with a design of slender serpentine stems with side stems curving horizontally across the piece, with small blossoms, buds and berries. Painted in green, red, blue, yellow and purple.
Putti playing before a herm
Jacob de Wit, 1695 – 1754, 1750–1752
Pen and ink, white heightening on laid paper; Verso: Black chalk, pen and ink on paper
Drawing

A child sits in the middle ground upon a goat, with four other beside it. In the foreground kneels, at right, a child besides some objects which lie upon the ground. He is shown from the back. At left sits a child upon a block and blows a Pan's flute. In the background are: a tree with a cloth in its branches, a Paris hermae, an altar with a pitcher. Framing lines. Verso: "At left are sketches in two rows, probably connected with a picture representing the Virgin with the Child, and St. John. At right is a row with sketches for a flying angel. The lower part of the lowest row of the sketches has been cut away.
Oaks, Lady Wood Lane, Irvington
Samuel Colman, American, 1832–1920, May 4, 1866
Recto: Graphite, brush and watercolors on brown paper Verso: Graphite
Drawing

Recto: Vertical view of oaks, one standing behind the other at left and two more oaks at right.
Verso: An incomplete sketch of a dead tree at right edge.
Artists Sketching at Chocorua Pond, New Hampshire
Daniel Huntington, American, 1816–1906, September 28, 1854
Graphite on cream wove paper
Drawing

Landscape containing Chocorua Pond and Mountain in the distance as four seated men sketch in a field with a stone wall, tree and shed located in the right foreground.