biglam/cooper-hewitt-alt-text huggingface dataset:
Ishibe (Megawa Sato), in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Left, large inn with groups of travelers starting along the road. Right, stream. Upper half, distant mountains rise above mist.
Sampler
Thomizan Thomson, English, 1717
silk embroidery on wool foundation Technique: embroidered in satin, eyelet, cross, half cross, and rococo (queen) stitches on plain weave foundation

"Blessed those who have God chose/ and in him put there trust/ Hee wil appere to them most nere/ when hence depart they must./ The lot of saints hath been afflictions/ wants and scorne and hee that was the best/ of men was mockt and crowned with thorns./ Make a joyful noise unto the Lord all ye hands/ & serve thelord with gladness/ Come before his presence with sinsins (?)/ Know ye that the Lord he is God It is he that / hath made us & not we ourselves/ We are his people & the sheep of his pasture./ Enter into his gates with thanksgiving/ & into his courts with praise./ They that trust in the Lord shall be as Mount/ Zion which cannot be removed/ But abideth for ever as the mountains are round/ about Jerusalem so the Lord is round about/ his people from henceforth even for ever./ For the rod of the wicked shall not rest upon/ the lot of the righteous/ Lest the righteous put forth th (?)/ Adorn thy soul with grace/ prize more wisdom then all the pearls upon the/ Indian shore.  This work in my hand my friends may have/ when I am dead and laid in grave./ Thomizan Thomson workt this 1717."
Sampler
, 1753
silk embroidery on linen foundation Technique: embroidered

Signed "D. E. S. 1753."  Varying secular and religious figures.
Sidewall
, 1810–30
Block-printed on joined sheets of handmade paper

On glazed white ground, blue plaid with small red and blue flower-like motifs.
Cuff buttons
, late 19th century
Gold, sapphires, diamonds

Pair of carbochon saphire, diamond and gold cuff buttons.
Seated female figure with books and putti
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Female figure sits with books in her lap. To the left of her chair is a bust with a headress. Putti stand on either side of her, carrying rectangular objects. To the right of this scene is a decorative motif.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Swag or scalloped design with foliate medallions equally spaced atop points and in center of swag. Band of scrolls across bottom. Small pendant flourishes suspend from top edge. Printed in white, green, and metallic gold on green ground.
Late Tulips / Bybloemen or Violets
, 19th century
Chromolithograph
Print

Botanical study of three tulips.
Purse
, 1830–60
silk, glass beads, metal Technique: bead-linked mesh

Bag made of fine white and green beads strung in a diamond-shaped net pattern. Attached and held open at top by two bars of steel with cut steel knobs. Cut steel ring allows bars to slide through to open and close bag. Cut steel and gold-colored beads ornament bag at crossing points of net.
Tea Kettle and Stand
Dominick and Haff, New York, New York, 1872 – 1928, 1881
silver, ivory
tea kettle, stand

1980-20-1/6: Tea set in silver with a repeating design of repou...;     1980-20-1-a/d: The stand (b) is square; a curved stepped edge is ...
Battle of Porte St. Denis
, ca. 1830
Block printed on handmade paper
Sidewall

Barricade battle scene of Porte St. Denis, surmounted by rooster, oak wreath and ribbon inscribed: "Porte St. Denis." Edged with oak vine and tricolore. Printed in pink, blue, green and white on lighter blue ground.
Chalice cover
, 17th century
linen Technique: needle lace

Design consists of a figure of a bishop, surrounded by floral scrolls terminating in angel heads at each of the four corners. Border is comprised of stylized floral forms.
Fall Games – The Apple-Bee
Winslow Homer, American, 1836–1910, November 26, 1859
Wood engraving in black ink on paper
Print

Group of figures paring apples.  Woman near fireplace, center, throws an apple peel over her shoulder.
Head of a Nun
Alessandro Marchesini, Italian, 1663–1738, 1750–1800
Red chalk on cream paper
Drawing

Head of a nun in right profile, her gaze directed upwards.
Proposed Design for the West Wall of the Music Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1817
Brush and watercolor, graphite on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation of the west wall, with two large painted panels of Chinese lions flanking the fireplace. The panels are, in turn, flanked by columns entwined by serpents. Other detail and section of wall are sketched in or indicated by outline, in graphite.
Sidewall
, 1905–1915
Machine-printed paper, textured, liquid mica

Floral bouquet enclosed within medallion. Bow knot at top. Medallions are connected by swags. Printed in metallic gold on blue stripe background.
Textile
, ca. 1860s
wool Technique: printed by engraved roller on 1x2 weft faced twill.

Brightly colored blossoms on curving vines against an ombre green background.
Cap streamers
, mid-18th century
Technique: bobbin lace

Pair of bobbin lace lappets joined, floral vine; mid-18th century Valenciennes Fond
Border
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed

Three panels of wallpaper border printed on one width. Bands of conventionalized flowers and foliage against an embossed and gilt ground. Above and below, narrow bands of woven, geometric strapwork against a deep red ground.
Design for a Textile
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Pen and black ink, brush and gouache and watercolor, graphite, on gray laid paper
Drawing

Textile design with variations. Two floral designs, upper and lower left, with central posie. Upper background is small yellow flowers, while lower design has denser red vine and flower pattern. Four band designs at right: horizontal stripes bound by gold twists, vertical bands of red circles on yellow, wavy vertical stripes in pink and red, and wavy gold band with small crescents.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper

A scrolling acanthus leaf design, repetitive in a wave-like formation on a cream ground. A scalloped line topped by a line of small acanthus leaves run across the bottom. Printed in white, gold, and shades of green.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Fragment of green-blue cut and uncut velvet on a white ground shot with metallic thread in a leafy palmette and artichoke pattern.
Fragment
, 18th century
linen, cotton Technique: resist patterning on 2/2 twill weave

Textile fragment with a pattern of blue resist on ivory showing vertical diamonds alternating with floral vines.
Cap streamers
, late 18th century
linen Technique: bobbin lace (Valenciennes ground)

Cap streamers of Binche lace in an asymmetric, open floral pattern framed by narrow garlands that terminate in abbreviated scrolls.
Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and pink, white, and black wash, pen and black ink, graphite on white wove paper
Drawing

White fluer-de-lys pattern on salmon-colored ground.
Fragment
, late 18th–early 19th century
cotton Technique: block printed on plain weave foundation

Floral bouquets alternate with paisley botehs in black and red and faded yellow on white.
Band
, late 16th–early 17th century
linen Technique: needle lace (The tabs were worked on a 4-element braid. The 2 3/8 in. square grid of the band was created by two 4-element flat braids along the length connected by cords covered with figure-8 interlacing.)

Border of square compartments with a narrow serpentine band running through the entire length. Piece edged by pendants.
Band
, 17th century
linen, silk Technique: silk satin stitich embroidery on plain weave

Band of white linen with embroidery in a design of lozenges with flowers in center. Narrow border of conventional ornament on either side. White linen fringe on one edge.
Design for Wall with Doorway, possibly for Library, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, graphite on paper
Drawing

Elevation of a wall, with a doorway at left surmounted by a painted tablet bearing Chinese characters. Walls to left and right covered with a series of painted narrow panels with solid color fields.
Plate XLVI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine for raising water for irrigation of land from a river. Moved by water current, water wheel turns a shaft with a curved frame which pushes a pole with buckets at either end, as it revolves, up and down. Description in Latin on verso of 1949-152-243.
Siena
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on paper
Drawing

A group of houses on top of a hill, vegetation below houses.
Border
, 1850–80
Block-printed and flocked on paper

The design consists of a flocked rod wrapped in leaves. The background is also flocked. Printed in maroon flocking, reds, blues and black.

H# 3
Street View in Guayaquil, Ecuador
Frederic Edwin Church, American, 1826–1900, May 23, 1857
Graphite on white wove paper; verso: graphite
Drawing

Architecture sketch of a three-storied building in Guayaquil, Ecuador. Placed centrally, the building is characterized by its position on a street corner, its tiled roof, and its arched arcade along the exterior of the third floor. Left side of building viewed obliquely, with the spine of a church visible down the street at far left.

Verso: Mixed botanical sketches with a view of a hut at lower right. At left, a tall tree with a thick and wide canopy is visible. Two studies of a plant with yellow blossoms visible upper right.
Designs for Folding Doors or Panels
Henri Sallembier, French, ca. 1753 - 1820, ca. 1780
Etching on off-white laid paper
Print

Two designs for panels with grotesque ornamentation, trophies, nude female figures, a gorgon shield, and garland. The plate is signed and numbered.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-8: Part of a set of Italian Minchiate playing cards.50
Frame
, mid -18th century
Cast and gilt bronze, cast iron

Roccoco frame with scrolls and cherub heads.
Palace on a High Terrace
Charles Michel-Ange Challe, French, 1718 – 1778, ca. 1760
Pen, chinese and brown ink washes on laid paper
Drawing

Position of the front of apalace on a high podium. A fountain in the left foreground. A house and the top of a steeple in the left rear. Framing line. Paper margins.
Beach Scene
Winslow Homer, American, 1836–1910, 1879
Crayon on paperboard
Drawing

Recto:  Vertical view of a woman kneeling on beach, facing right, with her left arm raised and a fleet of fishing boats in the background.
Verso:  View of girls' legs standing and kites.
Band
, 17th century
silk on linen; trimmed with linen lace Technique: embroidered

Cover is made up of old pieces; three strips of embroidered linen (animals and angular designs on red ground); two strips of needle lace with border of bobbin lace on two sides and on others, silk fringe in red and white.
Saint or Ecclesiastic Figure Administering Communion
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

Saint or Ecclesiastic Figure Administering Communion. Putti fly above, attendants at lower left, and worshippers at right receiving the bread.
ÉLEVATION D’UNE CHEMINÉE
A. Le Canu, French, active 1746 – 1768, 1768
Etching and engraving on laid paper
Print

Design for a neo-classical chimneypiece with a scale below. The mantel is decorated with rosettes in the corners. The overmantel mirror is framed by a running pattern molding with a candelabra sconce on either side. Above the semi-circular top is a central oval panel decorated with a festoon of laurel leaves and a ribbon. The cornice is supported by corbels. The plate is titled, signed, and numbered.
Designs for Ornament
Pierre Germain, French, 1703 - 1783, 1751
Engraving on laid paper
Print

Rocaille designs for three vertical friezes with ornament motifs including ribbon, roses, scallop shells, acanthus leaves, scrolls, oak leaf, torch, quiver. The plate is signed.
Edging
, 19th century
linen Technique: bobbin lace, Brussels style

Duchesse-style pattern of leaf and flower sprays under arches with border showing alternating leaf and flower pattern.
Boats at Étretat
Samuel Colman, American, 1832–1920, August 1873
Brush and watercolor, graphite on paper
Drawing

A rowboat with three men is shown beside a sail boat with four people and lowered sails.
Design for the Frame of the Portrait of Frederick V, King of Denmark
Johann Esaias Nilson, German, 1721 - 1788, ca. 1760
Graphite, brush and black ink, wash on paper
Drawing

Design for a cartouche. Various rocaille allegorical figures surround.
Design for a Pendant
George E Germer, 1868 – 1936, 1910–20
Graphite, brush and watercolor on cardboard
Drawing

Vertical rectangle. A circular medallion with filigree, pearls, and a diamond is transformed in a sketchy way into a pendant with three drops. Bordering lines, at right.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A pendant suspended from a ribbon with a bow knot. Strapwork forms a fleur-de-lys cartouche with three drop pearls. At center is a nude figure standing on a sphere, flanked by two seated nudes. The plate is numbered.
pencil
, 19th century
Gold

Gold cylinder, moulded and engraved, with imitation gem in head. Slide forces out small cylinder with head.  A second slide (now out of repair) may have operated a pen.
Design for a Billiard Table
, ca. 1805
Pen and black ink, brush and ink, yellow wash on paper
Drawing

Plan and elevation of a billiard table, with six tapering and fluted legs. Side of table decorated with wall of Troy motif. Scale on left.
Town gate
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Arched gateway flanked by wall panels and pairs of Doric columns. Written in the panel at left: "diametri / 2". Inscription tablet with a triangular pediment and an escutcheon on top. Low cone-shaped projections, laterally.
Ostrich Rirders, Plate from a Set of Chinoiserie Representations
Jean-Baptiste Pillement, French, 1728–1808, 1770–1780
Etching on paper
Print

Two Chinese figures riding on the back of an ostrich-like bird. One carries a long-handled umbrella with bells. Bottom: "J. Pillement delin." "Demonchy sculp"; top left: "C". Two framing lines.
Study for "Science," "The Progress of Civilization: Science and Art," State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Sketch of a burning oil lamp with a hand clutching the handle.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A horizontal plate with arabesque ornament designs featuring Neoclassical and Empire style motifs, roundels and vignettes featuring figures and mythological creatures and ornament. Friezes with running patterns along the upper and lower sections with palmettes, s-scrolls, scrolling acanthus leaves and foliage, incense burners, fleurons, rosettes. Framing the roundels, scrolling acanthus leaves, winged lions, masks, cornucopia of fruit and flowers, and birds. The plate is numbered.
Cosmetic flask
, 4th century
glass
lecythus

Irridescent, pale green body of two conjoined tubes with flanged mouth and emerald green loop handles.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, ca. 1736
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features a central framed cartouche with a woman painting at an easel, with a palette, paint brushes, textiles, ribbons, and foliate olive branches hanging from the textile and ribbon from a decorative bracket. The plate is signed.
PESCHEURS
François Boucher, French, 1703–1770, 1738
Etching and engraving on laid paper
Print

A group of six putti fishing by a river in a landscape. Two of them hold fishing rods, while a third holds a net. One of the putti appears to be climbing out of the water to the left. The plate is titled and signed.
Elevation of an Apse with Altar
Giuseppe Barberi, Italian, 1746–1809, 1775–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

The entablature of the altar is in the same height than that of the chapel; part of the supports being the same for either. A frame of a reversed image is supported by angels before the entablature under the circular pediment. Statues of female figures stand laterally beside the mensa.
Sampler
, 19th century
cotton Technique: counted satin, knot, buttonhole, eyelet and cross stitches on plain weave

Fifteen squares filled with drawnwork in different patterns; five squares filled with embroidery; one cross of embroidery and one of drawnwork.
Suite de Sainte Jams
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Two exterior elevations for a house illustrating the entrance and garden facades, featuring sculpted roundels, columns, pediments, and statues in niches.  The plate is titled, signed, and numbered.
Elevation of a Palace
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash, graphite, red ink on lined blued-white paper
Drawing

Four stories. A central section contains three doorways in the height of two stories, with pairs of windows in the intervals. In the top stories are six pilasters. The lateral sections have oblong openings in the ground floor, which is rustic as is the second floor. The windows stand closer together in these sections than elsewhere. The lateral wings are slightly projecting. They have three bays each. The two bottom floors are treated as in the neighboring sections. Four pilasters support a triangular pediment in the top floors. Bordering lines; paper margins.
A man on a Bridge
Jean-Baptiste Pillement, French, 1728–1808, 1760-1775
Etching on paper
Print

A chinoiserie-style design for a panel after Jean Pillement, depicting a man holding a long stick on a bridge, within a garden landscape, surrounded by trees, plants and flowers. Balustrades line the bridge or path leading towards an urn with flowers on a plinth in front of a trellised structure, with a hanging textile forming a canopy. Flowers and plants hang from the scene, with rococo-style fronds below, decorated with more flowers and garlands.
Band
, 17th century
linen Technique: withdrawn element work

Zigzag bands in brown and white.
Embroidered picture
, early 19th century
paper, silk Technique: embroidered

Small picture embroidered on paper with pastel-colored silks. Design reversed on back of paper. Labeled in ink: "S. Rudolphus M." The saint is shown holding a sword in one hand and a green branch in the other.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray, red watercolor, black chalk on cream laid paper
Drawing

Jewelry design for an earring. The scheme and the central part is similar to 1938-88-847, the disk and the drops having a different design, the diamonds inside and the frames seemingly being not connected with each other.
Villae Regiae Sanssouciane posticae partis prospectus (View of the Royal Palace of Sanssouci, from behind)
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the backside of Sanssouci Palace in Potsdam, Germany.  The palace windows are cut out, with thread and colored fabric visible through the openings. An elevated, colonnaded walkway forms a ring around the back of the palace, with an inclined ramp leading down from an opening at center. A tall, sinuous tree grows from a small hill at left. Pedestrians and horse-drawn carriages roam the flat space in front of the palace, and in the bottom right corner, a trio of men stand on a rock conversing. Above the palace, a strip of pink sky fades into a light blue, which stretches across the upper margin. Printed along bottom margin: Villae Regiae Sanssouciane posticae partis prospectus. / Veduta del Castello Reale di Sans Souci, di dietro.

Verso: Patches of red, green, and blue fabric. Printed label: Veue du Château Royal de Sans Soucy, par derriere. / Prospect der hintern Seite des Königl. Lust=Schloßes Sans Soucy. / Med. Folo. No. 44. / Georg Balthasar Probst, excud. A.V.
Design for a Corsage
, 1825–50
Pen and ink, brush and watercolor on paper
Drawing

Three stems with blossoms, buds and leaves are tied by a ribbon.
View of Monte Rosa from Macugnaga, Italy
Frederic Edwin Church, American, 1826–1900, September 1868
Brush and oil, graphite on off-white paperboard
Drawing

Landscape sketch showing a view of the mountain known as Monte Rosa from the small town of Macugnaga in the Valley of the Anza River in Italy. In the foreground, a timber building and a stone church--likely the Parrocchia di Macugnaga--are visible atop a lightly wooded prominence at lower right. Beyond them in the middle distance, a heavily wooded hillside descends diagonally across the composition from upper left to lower right, partially obscure the view of the distant mountain range. In the background at upper left, the three sharp, rocky peaks of Monte Rosa are veiled in clouds, while two shorter peaks at upper right are covered in snow. A large glacier is visible in the saddle below and between the peaks. Above, puffy clouds hang in an otherwise deep blue sky.
Button
, 19th century
Brass

Button showing coat of arms: heraldic devices surrounded by a band with "Honi soit qui mal y pense", lion and unicorn supporters, crown above and below, ribbon with "Treu und fest." Brass back and shank. On reverse, "Firmin and Son 153 Strand, London."

On card i80
Mt. Carmel and Haifa from the Sea
Frederic Edwin Church, American, 1826–1900, February 7, 1868
Graphite on white laid paper; verso; graphite
Drawing

Landscape study showing a view from the sea of Mt. Carmel and the city of Haifa, in what is now Israel. Water extends from foreground to middle distance, where it meets the shore. At left, Mt. Carmel rises dramatically and is crowned with the Monastery of Our Lady of Mount Carmel. At center, the flat coastline extends to the right.

Verso: Landscape study showing a distant view of the city of Jaffa, in what is now Israel. Water extends from foreground to middle distance, where it meets a shoreline at the base of the city, which is built on a round hill. The arched, semi-spherical form of the prominence dominates the center of the composition at center and is covered in structures.
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, 1850–70
Graphite on blue-gray wove paper
Drawing

Meteorological sketch showing a view of a tumultuous sky filled with various cloud types. At left and right, multiple storm clouds are visible. In the background, high-elevation cirrus clouds create a hazy sky.
Petite Maison exécutée à Malabry près le Bois de Verrières sur la route de Choisy à Versailles pour Mr. Belfoy par Villetard Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with two exterior elevations, an interior sectional view, and three floor plans for a house. The plate is titled, numbered, and signed
Frame for a papal inscription
Giuseppe Barberi, Italian, 1746–1809, 1700–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A tablet, the lower edge of which is curved upwards in the center, is supported by a lion's mask. Seemingly in front of the crossed papal keys, and branches hanging from them towards the mask. On top the tiara. Usual background.