biglam/cooper-hewitt-alt-text huggingface dataset:
Plate Depicting the Crypta Neapolitana (Grotta di Posillipo), from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
plate

Circular plate of grayish porcelain with blue band between two gilt lines around rim; gilt-bordered circular medallion in center with polychrome landscape of rock formation of arch.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic pattern of stylized small six-petal flowers densely overlapping with only small gaps of negative space; flowers are undetailed; roughly hexagonal pattern repeat; color scheme of cream on brown ground.
Fragments
, 1780–90
cotton Technique: printed by engraved plate on plain weave

Three fragments which when put together do not give the full height of the repeat. 
A double gabled thatched farmhouse house in front of a farmyard, people haying and in the distance a fox hunt. 
in red on white.
Borders
, 1795–1804
cotton Technique: block printed on plain weave

The left and right borders of a 'Pompeian Style' fabric. The border design on each is identical but the motifs on what would have been the field is different. Another border fragment in the same color scheme has been sewn to the bottom of 'a'. The colors are 2 reds, orange and black on a strong yellow ground.
Sampler
, ca. 1810
silk Technique: embroidered on plain weave

Spot motifs surrounding a central pictorial panel with a woman feeding chickens in the farmyard.
Tropics
Willets Mfg. Co., active 1879 – ca. 1912, ca. 1875–85
Gilt and glazed earthenware
Bowl

Circular in form, the white ground with brown transfer-printed decoration, the top section showing birds (cranes?) in flight in a landscape, the lower section composed of differently shaped panels of Japanese-inspired motifs including flowers, birds and geometric patterns.  Gilt rim.
Curtain panel
Unknown, ca. 1905
cotton, viscose rayon Technique: plain weave with discontinuous supplementary weft

Open weave curtain panel with concentric circles of dark orange, salmon pink and light brown. Elongated triangular forms along bottom edge.
Sidewall
, 1780–90
Block-printed on joined sheets

Arabesque design with floral swags and two alternating pastoral scenes. One, horse drawn wagon followed by woman and sheep.  Two, shepherd with sheep and bull.  Figures printed in grisaille, swags in polychrome, all on green ground.
Dish (One of Six)
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1765
hard paste porcelain, vitreous enamel, gold
dish

Molded, scalloped shell form with Chinese style decorations and bow knot.
Jug
, early 16th century
Stoneware
jug

Bulbous body on spreading foot, strait neck with two moldings, strap handle. Body decorated with applied serpentine branch and stamped leaves and berries. On neck, stamped lozenge motifs. Surface partly glossy, flecked brown and grey.
Angel with large wings
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Angel with large wings and flowing garments. The angel's left arm crosses the chest, and the right leg is exposed.
Panel
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Curtain or cover of soft, loosely woven linen plain weave, embroidered in silk in rose, green, white and blue, now faded. Large design of a tulip, framed by a long leaf at either side, rising from a jar.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small floral medallions with scrolling foliage and trellis patterns. Top has band of foliate scrolls with trellis. Parts of background are filled with floral lattice pattern. Printed on ground that fades from green to yellow-cream (bottom to top) in greens, white, brown and gold liquid mica. Printed in top selvedge, "Janeway & Co" pattern number "248".
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

Floral bouquet set within a foliate medallion. Band of foliate motif runs across bottom, interspersed with floral bouquets. The background shades from deep green at the bottom to a light yeloow-green at the top. Printed in shades of burgundy, green, and white.
The Entrance of His Majesty Louis XVIII into Paris, 3rd May, 1814
Richard Holmes Laurie, English, 1777 - 1858, 1820
Engraving, brush and watercolor on paper
Print

Spectators witness the king's arrival on the Pont Royal, which has been decorated with sham-architecture. A balloon is seen overhead. Below, title, publisher's name and the date. Plate 164 of a series.
Door knocker
, 1550–1650
Bronze

Floral form.
Atlas of the Celestial Heavens
W. G. Evans, 19th century
Engraving on paper
Book

Celestial map of astrological constellation and what time throughout the year and where these constellations can be seen in the night sky.
The Last Days of Harvest, from Harper's Weekly, December 6, 1873, p. 1092.
Winslow Homer, American, 1836–1910, December 6, 1873
Wood engraving in black ink on newsprint paper
Print

Horizontal scene showing, in the foreground, two small boys seated and husking corn with an open wagon filled with pumpkins in the background.
Fork from Traveling Cutlery Set
, 18th century or 19th century
silver, ivory
fork

1985-103-137-a/c: Shagreen case for two implements, silver cap and t...;     1985-103-137-a: Sharkskin case for two implements. Silver cap at t...;     1985-103-137-b: Knife with steel blade with straight lower edge an...;     1985-103-137-c: Fork with three curved tines, long baluster neck, ...
Pair of mirrors
, ca. 1890
Carved mahogany and mahogany veneer, mirrored glass

In George III style, each oval mirror with open-work frame having palmette crest at top.
Carceri Series Plate II
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Vertical Rectangle. Grandiose arcades with instruments of torture and fragments of classical sculpture. Address of the artist below. Top right, Calcografia number 350
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Small clusters of pink, white and blue. Flowers on yellow ground, graphite grid.
Sampler
, early 19th century
cotton, paper Technique: embroidered on net

Seventy-eight needlework patterns embroidered on a ground of hexagonal mesh. Mounted on stiff green paper.
Border
, 1815–25
Block printed on handmade paper

Heavy black acanthus leaves frame anthemions and stylized blossoms printed on buff ground with diagonal yellow stripes. Light blue ground.
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Two alternating floral motifs: small floral center with bouquet-like floral extentions on opposite sides, and a larger floral center with four single floral motifs on opposite sides. Small squares in diagonal rows cover the background. Printed in red on a yellow ground.
The Roman Catholic Chapel, Lincolns Inn Fields, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Church interior during a service. The galleries and floor toward the altar are filled. Title, artists', and publisher's names below.
Textile
, 1780–89
cotton Technique: block printed on plain weave

Straight repeat of widely-spaced flowers on an undyed ground. Two large flower groups surrounded by tiny flowers.
Textile
, late 19th century
cotton Technique: tied-resist patterning in weft (kasuri), indigo dyed, plain weave

Textile with checkerboard desing of two alternating geometric patterns created in the weft ikat or kasuri technique. Pattern described as "seal script."
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, applied mica flakes

On beige ground, trellis composed of tan ribbons with bows at interstices, filled with small pink flowers and green stems.
Elevation of Saint Mary Magdalen
Albrecht Dürer, German, 1471–1528, ca. 1500
Woodcut on laid paper
Print

In the foreground, a nude Mary Magdalen is being carried to heaven by angels from Mt. Pilon. In the background, the sea with ships and landscape.
Cupid
, 1770–1800
Black chalk on cream paper
Drawing

Standing Cupid, walking toward the left, with his left arm pointing behind him and his head turned to the right. He holds a bow in his right hand.
Sidewall
, ca. 1900
Machine-printed

All-over pattern of large-scale leaves and flowers. Printed in greens and salmon on ochre ground.
Dish
, 19th century
Glazed earthenware, transfer-printed decoration

Deep dish with brown transfer print showing cows and a house in a landscape. Border shows minute seaweed pattern.
Medal of the Order of St. Stanislas
Eduard, 1850–1900
Gold, enamel
Pendant

Maltese cross, enameled red, all eight points ending in gold balls, four ribbed arches connecting paired points; four double-headed crowned eagles at corners; in center monogram "SS", transfer-printed and surrounded by a wreath, enameled; ribbed oval loop top; on back, enameled "SS" at center.
Sidewall
, 1800–1835
Block-printed on handmade paper

On blue shiny, irregularly black-dotted ground, cut stone imitation - possibly marble - with orange, brown, and yellow veining.

H# 627
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave; glazed

Two fragments, same design in different colors. A) Ground striped in blue-grey and fine tan stripes; small scale pattern of vine with grey berries. B) Same with green stripes and berries in lavendar. Glazed.
Fragment
, late 18th century
cotton Technique: block printed with resist in two reds on plain weave foundation; vat dyed in indigo.

Curving branches with flowers and buds.
Band
, 16th–17th century
Technique: needle lace (punto in aria)

Band fragment, densely worked, with a tight scrolling vine.
Seven of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Seven of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Frieze
, 1905–1915
Machine-printed paper

Alternating tulip and stems: two large tulips, one small tulip, one large tulip, and one small tulip. The large tulips have large leaves and stamen. Bottom and top both have scroll panels with a pink background. Bottom also has square beading. Secondary layer of stem and tulip motif in background, over an overall vertical green dash pattern. Ungrounded. Printed in pinks, green, browns, and beige.
Landscape
Arnold William Brunner, American, 1857–1925, 1891
Graphite, brush and watercolor on paper
Drawing

View from the top of a steep incline with mountains in the background.
Serene Seascape with Small Waves
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Beach in left foreground with small, calm waves coming onto shore.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a hat, a head with a hat, and a figure wearing a hat, shown from behind from the waist up.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed

On white ground, stylized foliage pattern in green; these forms fitted into an over-all fish-scale design.
Portable Equatorial
Jacob Emanuel Laminit, German, 1719–1760, 1748
Gilt and engraved brass, cut and blued steel, glass
Sundial and Compass

Scrolled square frame with animal allegories of the Four Continents: camel, horse, lion and monkey; hinged quadrant, hour circle with gnomon and pendulum; in center, recessed circular box with compass needle, the face engraved with mermaid and triton; set on three adjustable legs.
Study for Painting "The Flight into Egypt"
Antonio Bellandi, Italian, ca. 1860
Black chalk, pen and brown ink on grey paper
Drawing

Mary, carrying the Christ-child, is seated on a donkey, in left profile, and is being attended to by a flying angel. Two additional angels appear to their left. Joseph walks beside the group on their right. The figures are flanked by trees on either side. An angel and a cherub appear above in palm trees. The landscape in the background includes hills, a village, and a pyramid. The drawing includes squaring lines.
Baptism of St. Martin
, 15th century
silk, metallic threads Technique: embroidery
Roundel

Five small roundels embroidered in colored silks and gold. Three illustrate scenes from the legend of St. Catherine of Alexandria; two others scenes from the life of St. Martin.
Ceiling paper
M.H. Birge & Sons Co., 1834, 1890–1900
Machine-printed

A fret design of two parallel green lines suggestive of a Chinese Chippendale pattern. The fret work design masks rectangular design. White background. Selvedge marked "M.H. Birge and Sons Co. U.S.A. 4779-2".
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880–1881
Graphite on wove paper
Drawing

Sketch of a gondola on the lagoon in Venice.
Elevation and Plan for a Public Fountain
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevation and plan for a large architectural fountain. The base of the fountain features several statues, of putti, vases, and antique figures. The plate is signed and numbered.
Plat-fonds de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Tenth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a section of the ceiling from the Gallery of Apollo at the Louvre. The ceiling features a strapwork and rosette border and ornamented with grotesque and arabesque motifs, with chickens, goats, putti, trophies winged helmets, foliage, acanthus leaves, and a central floral and acanthus leaf rosette. The plate is titled, signed, and numbered.
Yellowstone Below the Falls
Thomas Moran, American, b. Britain, 1837–1926, probably 1871
Recto: Graphite, brush with sepia wash and white-gray gouache on paper Verso: Graphite on paper
Drawing

Recto: Horizontal view of stream in foreground, castle-like cliffs in right middle ground, and large mountain range in background.
Verso, in opposite direction: a huge human figure standing upon cliffs.
Project for an altar
, 1775–1780
Pencil, pen, sepia, brush and grey water color on paper
Drawing

Vertical composition of an altar with "51" written at the upper edge
Design for a Tabernacle and a Baptismal Font
Giuseppe Valadier, Italian, 1762–1839, 1746-1809
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Upon steps, stands the tabernacle, shaped like a circular temple, with six columns supporting the entablature, and a door in the wall. Above are moldings, a drum, and a dome with a figure on top. At the foot of the dome stand six hermae or figures, and others similar to them, connected by some object hanging semicircularly. At the right end of the steps is a part of a bowl, with the indication of its height. Colored background.
The Flight to Egypt
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Graphite, pen and ink, brush and brown watercolor on paper
Drawing

Joseph walks with Mary carrying the child. Behind them the donkey. They are turned toward the right. At left, a ruined structure. Framing line.
Clock or Barometer Wall Mount Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two designs for wall-mounted clocks or barometers. The one at left has a mascaron at top and a fluted pillar leading down toward the round face. The bottom has garlands of beads, flowers, tassels, and a monogram rondel. The mount at left has a low, gadrooned vase on top with a pinecone finial, floral wreath, and ribbons atop a pedestal with bead course leading down to the round face, which is framed by bands of lamb tongue and cornucopia. The mount has garlands of flowers, tassels, and ribbons at the bottom. The plate is signed and numbered.
Lobster Cove, Manchester, Massachusetts
Winslow Homer, American, 1836–1910, 1869
Brush and oil paint on mahogany wood panel
Painting

A view of a rocky cove, with a pale-blue sky and pinkish-cream clouds reflected in the water.  Among foreground rocks, two small figures of fishermen dressed in caps and blue coats are visible, one holding a rod and the other a net.
Project for a cross-altar: intended to be executed primarily with colored marbles
, 1700–1730
Pencil, pen, ink, brush and various water colors on paper
Drawing

Vertical composition of a cross-altar.  One step leads to the upper surface of the altar, which is decorated with an oblong panel with a cross in a circle. The top of the altar features a circular pediment. The wall of the retable is decorated with a framed panel in the shape of a picture with a cross and a rayed glory. Shadow is cast to the right.
Two Women and a Child
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

One woman sits in a chair at right. The other on a low table, supporting the child beside her.
Two Men in an Army Wagon
Winslow Homer, American, 1836–1910, 1862
Graphite, brush and gray wash on cream wove paper
Drawing

Recto: Frontal view of army wagon with two men. 
Verso:  Four sketches of mules, one with rider.
Design for a Monument
Giuseppe Barberi, Italian, 1746–1809, 18th–19th century
Pen and brown ink, graphite on off-white laid paper
Drawing

Columns with Fortunes on top rise at the corners of a dado. Two sections of round bases stand upon the dado. Over these is another round section with flights of stairs. Dancing girls hold festoons, standing on walls separating the stairs. A domes pavilion rises on top. A statue of a seated man with a high pedestal stands on it. Circle, underneath.
Pair of Candlesticks
Meissen Porcelain Manufactory, German, active from 1710 to the present, early 19th century
hard paste porcelain, vitreous enamel, gold
candlesticks

Each candlestick is composed of a round white column on a square plinth, and with a capital of four female heads with draped head-dresses in nature colors, under white and gold Ionic scrolls. Wreath of light green oak leaves bound with lavender-pink ribbons forms the base of column, and plinth has a border on its vertical face of flutings of the same color and gold band. Scrolls contain light green rosettes, with the same fluting motif in place of dentils. Gold edges and lines throughout. Separate candle insert.
Hachelkopf above the Königssee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the steep mountains along the western shore of the Königssee, Bavaria, as seen from the ferry stop known as Kessel Anlegeplatz. Most notably, the sharp, craggy peaks of the Hachelkopf are visible at center, above the relatively miniscule towers of St. Bartholomew's Church, which is situated in the middle distance at left along the water's edge. The flat surface of the lake extends from the foreground at right to the middle distance at left, and is bounded at right by the mostly wooded, precipitous slopes of neighboring mountains. At center upper, the jagged twin peaks of the Hachelkopf form a high, serrated horizon. Faint, puffy clouds float in the sky above.
Cascade near the Königssee, Germany
Frederic Edwin Church, American, 1826–1900, August 2, 1868
Graphite and white gouache on blue laid paper; verso: graphite
Drawing

Landscape sketch of a waterfall near the Königssee, Germany. At center, the water--rendered in white gouache--cascades down a cleft in the mountainside and gathers in a foaming pool at its base. Sharp forms of the rocky ledge visible along upper margin. Waterfall curves slightly to the left.

Verso: Architecture sketches showing view of houses, a wooden cabin, and a village at the foot of a mountain. At upper center, two possibly urban, stone houses are shown obliquely. At center, a simple rectilinear log cabin is visible, built on a rocky slope. Oppositely oriented at lower center, a village with a prominent tower is shown at the base of a steep mountainside.
The Fishing Party, from Appletons' Journal of Literature, Science and Art, October 2, 1869, Supplement
Winslow Homer, American, 1836–1910, 1869
Wood engraving on off-white wove paper
Print

To left, at top, three men and one woman recline on grassy back, with trees in background.  Stream at right, flowing over mill-dam in background past rocks in foreground where three young women are fishing.
Design for a Carriage Wheel and Doors
Louis Van Nerven, Dutch, active ca. 1750, 1755–69
Etching on paper
Print

Design for a carriage wheel and two faint designs for carriage body doors above decorated with ornate ornament featuring scrolling leaves (rinceaux), c-scrolls, rosettes, cartouches, flowers, and shells. The plate is numbered and signed.
Band
, 17th–18th century
linen Technique: bobbin made continuous tape with bars added

Open ribbon like design of tulips, facing alternately up and down. Background of narrower ribbons forming loops and twists.
Study for a procession, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on paper
Drawing

Sketch of male and female figures in procession through an arcade with columns and pedestals. Similar to 1904-16-1, but the maenad as in 1904-16-11 is looking and the composition begins at left as it does in 1904-16-24. It closes also at right differently, the architecture being pushed back by a railing in front of which a group of three figures is shown at left.
Fragment
, 16th century
linen Technique: needle lace (reticella)

Fragment of reticella with a broad central band in a design of diamond shapes with circles and diagonal lines. Narrow bands above and below have straight lines intersected by diagonal lines.
Bandbox
Jesse Baker, 1800–1830
Block-printed paper on pasteboard support

Inspired from printed chintz, design is of lilacs and roses in lavender and pink with green leaves on tan background. Lilacs in oil paints, roses and leaves in distemper. Label on inside of cover reads: "From Jesse Baker, Paper Box Manfr. No. 21 Bank St. bet. Market & Chestnut & 2nd & 3rd, Phil-delphia." This box belonged to Sarah Kirk, aunt of Elyah Hollingsworth; presented by his granddaughter, Mrs. Norton Paton, Irvington-on-Hudson, New York.
Mountainous Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of sharp mountain ranges in Mexico. In the foreground and middle distance, two shallow slopes at left and right overlap at center, where a craggy mountain rises in the distance. In the background, the outline of a serrated mountain range fades near the margins at left and right. Puffy, isolated clouds hang throughout the landscape. 

Verso: Landscape sketch showing a loosely rendered view of a cloud bank over mountains in Mexico. At center, a rugged ridge stretches across the composition, rising at left and right. Above, a dark and low cloud bank is hastily articulated.
LA PLACE ST. MARC à Venise
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of St. Mark's square in Venice, with the domed basilica in the center with buildings and arcades on either side, and figures in the square. The plate is titled.
Moonlight in El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 29, 1868
Graphite on tan laid paper
drawing

Landscape sketch showing a moonlit view of rolling mountains in the valleys of the Nahal Hatira and Nahal Yemin (known to Church as El Yemen Valley) in the Makhteshim-Ein Yahav Nature Reserve in present-day Israel. The rugged foreground is darkened by shadow with a prominent boulder at extreme right. In the middle distance, undulating mountains are variously illuminated by the light of the moon, including the tallest peak at left. Two stars hang in the sky above.