biglam/cooper-hewitt-alt-text huggingface dataset:
View near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June 1868
Graphite and white gouache on tan wove paper; verso: graphite
drawing

Landscape study showing a view of the mountainous landscape near Berchtesgaden, Bavaria, in present-day Germany. A forest of evergreen trees stretches across the foreground. In the middle distance, two wooded slopes at left and right descend towards the center, where they converge around other rolling terrain. In the background, a rocky pinnacle rises before a sheer, jagged mountain range--both of which are partially veiled by a low-lying bank of puffy clouds.

Verso: Unfinished landscape sketch showing a portion of a nearby wooded ridge with a tall, rocky pinnacle behind it at upper left.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

Vase with twisted claw feet elevated on a stacked pedestal. One handle of the vase is showing and has a fish-scale pattern at the bottom. The bottom of the vase has deep, angled carving. The neck of the vase is adorned with a ribbon and satyr masks. The plate is lettered and numbered.
Towel fragment
, 17th–18th century
cotton Technique: twill with supplementary weft forming pattern

Towel fragment with bands of blue pattern containing confronted unicorns on their hind legs and confronted birds with wheel-like shapes.
Study of Siena Cathedral
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1872
Graphite and watercolor on paper
Drawing

The northwest part of the choir behind the main altar in the Siena Cathedral.
Profil de la Maison de Monsr. de Bretonvillers
Jean Marot, French, 1619 - 1679, ca.1643–ca.1660
Etching on laid paper
Print

Architectural elevation of a large house with a sectional view of two rooms with a fireplace and paneling visible. A scale below. The plate is signed and titled.
Study of Tree
Samuel Colman, American, 1832–1920, March 14, 1892
Graphite, pen and brown ink, brush and watercolor wash on cream paper
Drawing

Trunk of a willow.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Four ironwork designs featuring masks (mascarons), putti, dragons, crown, lions, terminal figures, vases, flames, festoons, foliate scrolls, fleurons, rosettes, and scrolling leaves (rinceaux). The plate is signed and numbered.
Sketch of a Boulder with an Animal, Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on gray-blue wove paper
drawing

Small landscape sketch from Mexico showing loosely rendered view, at lower right, of an immense boulder behind a dark, silhouetted animal like a cow or horse. Inscriptions describe a church that is not depicted here.
Design for a Niche With a Painting
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

A painting representing a landscape with a castle hangs in the rear of a rectangular niche. Two putti hold a cloth with an inscription.
Iceberg Fantasy
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil on paper backed with canvas
Drawing

Seascape and landscape sketch possibly showing a view of a tar-covered, floating barrel burning in the cave or indentation of an iceberg, witnessed during the artist's expedition to Newfoundland and Labrador. In the foreground at right, a rugged mass of dark ice is illuminated at its base in a vivid red glow. At center left, a sailboat is anchored in a calm bay surrounded by icebergs, which are variously illuminated--potentially by the burning barrel, the midnight sun, or both. The water itself is also toned in hues of green and red. In the background, this small bay is bounded by a craggy wall of prismatic icebergs, seemingly colored like a rainbow as they reach toward a dark evening sky. In the background at center, another light source, or a reflection of the burning barrel, is visible. Along the lower margin, the beige grounding color is visible.
Mill Brook, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 1854
Graphite on paper
Drawing

Winding brook at center, curving towards right. Meadow at lower left, with birch and maple trees at right. Verso: Light sketches of bluffs, upper left, with trees and rocks below, left and right.
Balcony Balustrade Designs
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Two designs for ornamental ironwork balcony balustrades featuring rosettes, laurel leaf crown, fluting, c-scrolls, s-scrolls, fleurons, scrolling leaves (rinceaux), and foliate scrolls. The plate is numbered and signed.
Cup and Saucer
Doccia Porcelain Factory, Italian, established 1735, ca. 1800
porcelain, vitreous enamel, gold
cup and saucer

Cylindrical cup with slightly scrolled handle. Saucer flat, with flaring edge. Decorated in gold and thick overglaze enamel. Band of half leaves about edge of cup and saucer.
Landscape Sketches
Whitney Warren Jr., American, 1864–1943, ca. 1900
Graphite, brush and watercolor on cardboard
Drawing

Left, two young trees; right, two trees in a meadow shown against wooded hills. Verso, boulders and an evergreen.
Nursery Rhymes
Walter Crane, English, 1845–1915, 1876
Machine-printed paper
Sidewall

The second children's wallpaper designed by Walter Crane. Nursery rhymes depicting Queen Anne seated in a swing receiving "ABC's" from Cupid. Miss Muffet and the spider, the plate and the spoon, Hey Diddle Diddle, the cat and the fiddle, the cow jumps over the moon while the little dog laughs. Miss Mouse being presented with a billet doux (sweet note) by Mr. Frog. The repeat is incomplete.
Doily
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1905
linen Technique: stem, roumanian, knot, feather and satin stitches on plain weave

Flower on a stem in muted colors within a notched circle. The initial "D" is within a wheel-like shape.
Textile
, 18th century
cotton Technique: relief printed and painted

Floral sprigs and flowering branches on an off-white ground. Small strip of wallpaper attached.
Miser's purse
, early 19th century
silk, steel beads Technique: knotted net

Small netted purse in dark brown silk with cut steel beads in floral design. Looped tassels of cut steel beads at each end; single steel ring.
Tiraz
, 12th century
mulham Technique: painted on plain weave

Section of undyed mulham with right-hand part of decorated horizontal inscription band sketchily drawn on it: crude Kufic characters in black on blue guard bands outlined in black. Row of birds fly left above band, sketched in black and touched with gilt and blue. Close above them narrower band with flowerheads and scrolls sketched in black on ground touched with gilt; alternate flowerheads touched with blue; narrow guard strip outlined in black.
Vase
, 17th–18th century
Enameled and glazed porcelain

"Famille verte" decoration; oviform vase; the sides depicting women watching from a doorway as a nobleman departs in a rickshaw.
Dragonfly Lamp
Tiffany & Company, American, established 1853, 1900–10
Stained glass, lead, brass, gilt bronze
lamp

Conical shade of amber and green stained glass with dragonflies around the sides, on gilded base as bunch of tall grass surrounded by lily pads.
Vase
Tiffany & Company, American, established 1853, ca. 1909–10
bronze electroplated semi-porcelain, glass
vase

Bronze-plated vase with six inlaid scarabs.  White clay body, semi-porcelain, cast. Bulbous body with long slender neck with slightly flaring rim. Raised ribs on neck and extending down body, incorporating six iridescent amber glass scarabs into the recessed areas around the shoulder. Allover electro-plating of bronze, with dark patina.
Living Room Table, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite on cream tracing paper
Drawing

Elevation of a long, thin table from the front and the side. Side, with cabinet doors visible, at the left, front at the right.
Cartoon fragment for Printed Cotton Textile: Friendship Does not Fear Time ['L'Amitie ne Craint du Temps]
B. M. Lebert, 1759–1836, ca. 1811
Pen and gray ink, brush and gray wash on cream paper
Drawing

One of three scenes showing Diana seated with her dog at the altar of Love. At left, classical circular structure (possibly inspired by the Temple of Mater Matuta, Rome) to the right, triumphal arch and a bridge (suggestive of the Ponte Mulvio, outside Rome.)
Ornament Design with Triumph of Venus
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a central oval depicting a scene of Venus born upon the waves in a shell, surrounded by nereids. The oval is set within an arabesque frame of tendrils, scrolls, and sprays of leaves. The plate is signed.
Les Losange
Jean-Baptiste Huët, French, 1745–1811, ca. 1800
cotton Technique: printed by engraved plate on plain weave foundation
Fragment

Medallions and cartouches, containing various mythological figures on a diamond grid of lozenges. In brown on white.
Design for a Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy hanging from a tied ribbon. The trophy incorporates shields, swords, feathers, a bow, and arrows. The plate is signed and numbered.
Sketches for Scenes Four and Five of Cartoon for Cotton Printing: L'Histoire de Henri IV
Hartmann et Fils, Munster, France, ca. 1820
Graphite on cream-colored paper, mounted
Drawing

Island scene from Voltaire's epic, La Henriade. Henri the IV before his tent on the field of battle, outside the walls of Paris, counsels the Chevalier d'Aumale before his duel with Henri, Vicomte de Turenne (Canto X, lines 48-49).
chef de piece
Jacques de Mainville, 1762 – ca.1820, 1782–99
cotton Technique: block printed on plain weave with blocks for two reds, black, two purples, brown, and mustard; edges of blocks visible in picotage areas

Two fragments of the same piece, one with a factory stamp. Design of stems, leaves and exotic flowers on a picotage background of oval shapes.
Cruciform watch
Saloman Coster, 17th century
Gilt-bronze, rock crystal, brass, silver, steel, leather and silk case
Watch

Cruciform crystal case cut with wide inclined facets; hinged cover on front only; bronze-gilt rims engraved with feathering; gilt dial plate decorated in champlevé engraving with sprays of carnations and tulips; applied silver hour disk numbered I to XII; single steel hand; below dial, applied silver plate engraved with scrolls, with curved slot through which ''bob'' on spring balance is seen; brass movement hinged on same pin as cover; fuzee with chain; verge escapement with pierced cock over escape wheel which protrudes through aperture in top  plate; tangent screw and regulator disk with cogged edge, the two bearing pieces blued steel; square Egyptian pillars. Outer case black shagreen leather piqué with small gold cloux over  brass base; lined with faded coral-colored plush.???
Panel
, 19th century
linen, silk Technique: satin and buttonhole stitches

Panel embroidered with a band of hexagonal motifs set in ground of crossing diagonal lines made up of small four-lobed figures. Ends of panel are buttonholed.
Border
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread and twisted torchon ground

Peasant lace, straight edge. Lozenge pattern with heavy thread outlining design.
Among the Arbors at Père Lapin's a Table Had Been Set for Them
William Leroy Jacobs, American, 1869 - 1917, 1902
Charcoal, colored chalk, brush and watercolor, white gouache on illustration board
Drawing

An open patio, with a man and woman seated at a table, left, overlooking the city. The EIffel Tower is seen in the distance.  A waiter mixes a salad bowl, right.
Textile
, 1850–1900
silk Technique: gauze weave with narrow bands of printed plain weave

Fragments from a pieced skirt of black gauze striped in black with areas of denser weave printed in an allover design of small stylized floral motifs and at the bottom, a wide border of small flowers and a row of large roundels enclosing roses and more. Fine, high quality printing with many bright colors.
Sewing sample
, late 19th century
Linen; cotton

Small sample, knotted linen net with simple pattern darned-in white cotton; corner, border and round center design. Fringed edge of looped thread.
Hercules, plate one from Twelve Etchings by Chifflart
François-Nicolas Chifflart, French, 1825 - 1901, 1865
Etching
Print

Vertical rectangle. Hercules seated on a rock playing on a lyre, three infants, a club, and three-headed dog at his feet.
Table mat
, 19th century
silk Technique: embroidered on plain weave

Square panel of horizontally ribbed red silk with multicolored silk embroidery. Central circular floral medallion, surrounded by flames. From medallion, diagonal branches, very conventionalized, with flowers and leaves, run to each corner of panel. Narrow floral border solidly embroidered. Edged with fringe of red, yellow, blue and white loops. Backed with yellow silk.
Ice Cream Cup (Tasse à Glace), from a Dessert Service
Sèvres Porcelain Manufactory, French, established 1756, ca. 1824
hard paste porcelain, vitreous enamel, gold
cup

Ovoid, with round flat foot, cavetto neck and voluted handle. Decorated in gold and colors, with bands and foliate designs.
Design for a Choir Screen
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

A = Jombert 69, 6. B = J. 74, 1. Address in the bottom margin: ''Ce vendent a Paris chez Pierre Mariette rue St. Jacques al'esperance auec priuilege 1661 - 1''. C = J. 85, 4, ''5'', left bottom corner. Second state with the name ''le Blond'' in the address.
wooden chair with needlepoint upholstery
, 1690–95
Walnut, wool needlepoint
Armchair

Tall back with straight molded enframement sides and bottom, shaped at top.  Crest of pierced volutes and scrolls.  Slender arms, scrolled and raked at the knuckles, on turned supports.  Flat scrolled and molded front legs terminate in bun feet.  Flat front stretcher of pierced volutes and scrolls below straight molded seat rails.  Turned side, center, and rear stretchers.  Turned rear legs sharply raked.  Remains of black varnish.  Upholstered in colored wool needlepoint of large floral and animal designs.
Clouds
Daniel Huntington, American, 1816–1906, ca. 1840
White chalk Support: Gray wove paper
Drawing

Horizontal rectangle. Perhaps stylized waves on seafoam, all across the paper.
Clavus band
, 4th–5th century
wool, linen Technique: slit tapestry with supplementary weft wrapping

Long, narrow band ending in a stem with an ovate form.  A dancing nude female figure at the top  and geometric patterns in tile-like formations below.
Fragment
, late 18th–early 19th century
silk Technique: painted on taffeta

Oblong panel of taffeta painted in polychrome. A landscape with trees, pavilion and rocks.
The Fall of Man
Jan Sadeler, the Elder, ca. 1550 – 1600, ca. 1580
Engraving Support: white laid paper
Print

Vertical format Adam accepts the apple from the Eve in the Garden of Eden; various animals about, including a serpent coiled on a tree by Eve in the Garden of Eden;
bank note
, February 13, 1861
Colored inks on paper

Horizontal rectangle. Bank note, five dollars, Allegheny County Banck, Cumberland, Maryland, number 982. Portrait of a young girl, upper left; coal miners, lower right.
Book 3 1887
Old Pacific Print Works, Lawrence, MA, USA, 1886–88
leather, paper, and printed cotton textile samples
printer's sample book

Small dark brown leather-bound book with textiles samples. Natural and synthetic dyes. Mostly small-patterned geometric and floral prints on plain weave cotton. 148 samples.
Fragment
, 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Small fragment with a design of small sprigs and a border of pendant leaves.
Pattern with uncompleted lace
, late 19th century
paper, wool, linen Technique: needle lace with ground of loop and twist with loop and twist return

Outlining thread is couched on pattern in design of a rose with bud and leaf, and a small five petalled flower with leaves. Part if the pattern has been worked.
Cap streamers
, late 18th–early 19th century
linen Technique: needle lace with ground of loop and twist with twist return

Needlepoint lace lappets, point d'Alençon.
Obi fabric
, late 19th century
silk Technique: plain compound satin weave

Panel of obi fabric with a gray-green ground has a small vine pattern in brown, yellow, and blue-gray.
Bandbox
, ca. 1850
Block-printed paper on pasteboard support

Illustration of man's top hat, printed in black on green on box lid and one side of box. The other box side contains a manufacturer's label.
Fragment
, 19th century
linen Technique: bobbin lace, provincial style

Design of lozenges formed by crossing diagonals: flower in each lozenge.
Fragment
, late 16th century
linen Technique: bobbin lace, discontinuous tape

Fragment of a band with the edge portion showing S-shaped motif surrounded by triangles. The connecting rods are braided with picots. Has three fleur de lys-like tabs along edge opposite the S-shapes.
Textile
, 18th century
cotton Technique: block printed on plain weave

A goddess (Diana?) in front of a seated shepherdess and two putti in front of an obelisk. In offset repeat.
Printed in two different reds which are so close in value they appear as one color.
Chapan (robe)
, second half 19th century
silk, metallic yarns, cotton Technique: compound weave (robe); warp ikat (lining)

Robe patterned with ogival lattice in gold metallic on a terra-cotta silk foundation. Edges trimmed with knitted silk in red, blue, yellow, black and white. Lined with silk and cotton warp ikat fabric in red, white and yellow.
Sidewall
, 1775–1800
Block-printed on handmade paper

Imitating a textile. Wide blue stripe in center. On either side, a wider band of brightly colored floral design simulating embroidery.
Fragment
, 1750–1800
linen Technique: block printed using resist on both sides of the fabric, vat dyed in indigo on plain weave

Side 1: floral stripes, both straight and curving. Side 2: Curving stripes alternate with a balloon.
La Musique
François-Thomas Mondon, French, 1709 – 1755, 1743–48
Etching on laid paper
Print

Seventh plate form a series of seven designs representing the arts in rocaille ornament vignettes. Within a garden landscape eight putti sit on and in front of a fantastical rococo garden wall, ornamented with rocaille, shell, acanthus leaf and c-scroll motifs. Some of the putti are playing musical instruments such as the cello and flute, while others watch and listen and hold a large book of music. In the foreground to the right, a pile of musical instruments and sheet music. The plate is titled, signed, and numbered.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic all-over pattern with stylized bunches of peony flowers; single-motif diamond-shaped repeat in off-set columns; negative ground speckled with irregularly-sized dots; color scheme of light brown on yellow-cream ground
Design for China Cabinet of Mahogany and Inlay, Sept. 13, 1906
A.N. Davenport Co., September 13, 1906
Graphite, red color pencil on thin cream paper
Drawing

Demi-lune-shaped glass cabinet with flattened center front; molding along top edge; 3 shelves holding china pieces; raised on 4 short tapering legs.
Border
, 1820–50
Block-printed and flocked

Eight swatches of wallpaper borders, including fancy gimp, ribbons, architectural moldings, moire, floral.
The Interior of the Chinese Room, Looking toward the Conservatory, Middleton Park, Oxfordshire
William Alfred Delamotte, 1775 – 1863, 1840
Brush and watercolor, gouache, gold paint, graphite on white wove paper
Drawing

The exotic motifs in this Chinese room show the popularity of chinoiserie decoration in the Regency period. The walls are hung with Chinese painted paper bordered in blue and decorated with Chinese characters. Bamboo furniture, the Chinese pane in the transom above the doorway to the conservatory, and the japanned door are also examples of Regency Chinese taste.
Chalice cover
, late 17th century
linen Technique: needle lace (gros point de venise)

Chalice cover in a symmetrical design of floral and foliated forms surrounding central floral motif in high relief.
Gee I wish I were a Man, I'd Join the Navy
Howard Chandler Christy, American, 1872 - 1952, after 1917
Lithograph on paper
Poster

On white background to the left is a young woman wearing a sailor uniform.  She smiles, grabbing her shirt while a gust of wind blows from behind.  To the right the text reads: " Gee!! I Wish I Were A Man/ I'd Join the Navy".  At bottom center: " Be a Man And Do It/ United Stated Navy Recruiting Station".
Curtains
, 1725–50
cotton, linen Technique: patchwork of different plain weave fabrics which have been mordant and resist painted and dyed

Curtains are composed of several different kinds of chintz, in an elaborate arrangement of patchwork, sewn to a lining of white linen. Series of bands of different chintzes, forms a total design of baroque character, borders, corner motifs, and, when the curtains are edge to edge, a large central medallion. The bands are edged with cord, couched in red, which covers the seams.
Chintzes are characterized by designs of small flower sprays, painted and with great elaboration of detail, in many contrasts of color. 
There is much overpainting as green on violet, one blue on another shade of the same, red over yellow to give orange, stripes of different colors in one blossom, all with great skill and delicacy of line. The leaves are sharply pointed and brightly colored. While many of the small flowers look deceptively like European blossoms, none are recognizable except a carnation.  In one or two sections there are parts of a curious pattern showing narrow curving bands, one with jagged edges in red, one imbricated, red, blue, and yellow.  While the ground of these chintzes is white, several of the appliqué bands are blue grounds.
Formerly part of a set of bed hangings.
Colors: Two reds, two greens, two blues, yellow, violet, orange (red over yellow).
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Floral wreaths (with berries?) and small bouquets. Ground is pink. Printed in brown mica. Reattached corner.
Demitasse Spoon with Snail
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form twisted leaf. Large snail applied to base of leaf with head outstretched off towards the right side over edge of leaf.
Sidewall
, 1800–1825
Block-printed on handmade paper

On grisaille ground, figural scenic, vignettes featuring soldier mounting horse with exotic trees, alternating with smaller motifs of riding or military attire.
Sketchbook Page: Isis
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of another dress of Isis, figure shown facing left and wearing a double crown.  Verse above beginning: Royal wife + sister.
Verso: Notes about Isis, above. Below, sketch of Isis with wings and headress, facing right.
Louis Roederere Champagne
, ca. 1890
Plated metal
Matchsafe

In the form of a champagne bottle, the body silver color, the wrapped cork and neck brass , the label brass: inscribed "Louis Roederere, Reims". Base of bottle neck (lid) hinged at back. Striker on bottle bottom.
commemorative
, 1876
wood, pressed
Plaque

"Centennial Exposition / Machinery Hall"
Sidewall
M.H. Birge & Sons Co., 1834, 1895–1903
Machine-printed on paper

On yellow ground, anthemion motifs of cream scrolls with bouquet of red and yellow flowers and green scrolled stems .
Bronze Old Silla Dynasty Era Spoon
, 6th century
bronze
spoon

Elongated subtly pointed oval bowl with vertical rib, curving stem with squared terminal with floral and scroll decoration on obverse at join above bowl.
Textile
, late 17th century
wool, silk Technique: tapestry weave

Oval fragment representing "America" shows a seated indigenous male figure in a feathered headdress and skirt. He wears a heavy necklace and armbands on his upper arms. A parrot is perched on his right hand, and the left hand holds an arrow. Just beyond him lies a puma. In shades of red, blue, brown and off-white. Probably a detail from a table cover.