biglam/cooper-hewitt-alt-text huggingface dataset:
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Pencil, pen, ink. Greyish brown water-color wash. Paper.

The infant is shown in profile, seated beneath a tree and drinking from a horn, a nymph, standing at left, is extending to him. A small goat eats before the seat of Bacchus. A satyr stands at right, and blows a pan flute. A snake is wound around the tree and is inimically looked at by an eagle. A bird flies toward a nest with two young ones on top of the tree. Reverse, horizontally: upper part of a naked classical warrior with shield and a spear.
Rank badge
, 15th century
silk, metallic Technique: tapestry woven

Fragment showing a few feathers against a cloud background.
Cottage Near Mud Flats, With Distant Village In the Evening
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A cottage stands in the left foregound, with a ruined building at the right, overlooking mud flats and a distant village with windmills, as seen in the evening light.
The Royal English Coat of Arms
, 1840–1850
Wood engraving on paper
Print

Shown against a blank background.
Palazzo Milzetti, Faenza;
, 1802–05
Pen and brown ink, brown wash, over black chalk on white laid paper
Drawing

Ceiling Design: Praetor petilius Burns the Greek Philosopical Books of Numa Pompilius in the Comitium??? Petilius stands in center with fire into which books are thrown at right; senators and officers look on. Statues of Pytagorus and Alcibiades shown in right rear.
Trimming
, mid-19th century
silk and metal Technique: woven

Trimming (galloon) with design of a cross in red silk, alternating with lozenge in green silk, between borders with small lozenge and flower in purple silk; on ground of metallic gold thread; furnishing trim
Cupid Resting, after a painting formerly attributed to Rembrandt
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1660
Etching on laid paper
Print

A winged cupid, his quiver of arrows at his left side, reclines on a couch. His bow at left. After a painting in the Thyssen collection, signed and dated "Rembrandt 1634.) Neither painting nor print are presently given to Rembrandt.
Fragment
, 17th century
silk, metallics Technique: plain weave with supplementary weft

Design of flowers and leaves in silver on a red ground.
Textile
, late 18th century
silk, metallic thread Technique: painted using resist paste to outline (yuzen)

Fine creped ochre ground with widely spaced repeat of covered decorated cart amid pines, grasses, and flowers.  Scattered leaved embroidered in orange and green floss, couched in gold thread.
Altar
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Above dado, with bas-relief or painting representing the Last Supper, are Corinthian columns and pilasters, supporting a simple entablature with dentilations. Between the columns in an arched niche with sculpture of Christ standing with the cross; a cherubim is at peak of arch. Above entablature is a half-dome buttressed by four volutes, some topped by seated figures, and decorated with leaves and swags. At dome's top, statue of standing male figure holding a cross, probably monastic saint. Below, a
St. Paul's Pavement
Joseph Pennell, American, active England, 1857–1926, 1905
Etching in black ink on laid paper
Print

Large area with many figures before St. Paul's portico, seen in the background.
Etui
, late 18th century
straw, paper

Green and rose straw in checkered pattern, faded to sage color and brown, on card board: called ''straw mosaic''.
Textile
, early 19th century
hemp Technique: tied resist patterning in warp and weft (double ikat) on plain weave

Medium-scale repeat of curling dragon in clouds alternating with prancing animal in diamond frame superimposed on a curving branch with flowers. Scattered plaid crosses in double ikat. In white reserved on blue ground.
Sampler
, 1790
silk embroidery on linen foundation Technique: embroidered on plain weave

Ornamental border enclosing alphabets and numerals and detached motifs including shepherd and shepherdess, woman with children, Adam and Eve, flowers, and a camel.
Print
Daniel Rabel, 1578–1637, ca. 1632
Engraving, black ink on paper

Cartouche, seen mounted by a winged Amor, above, and containing, within a central opening, a view of a forest lake with three figures and a dog in a boat.
Les Monuments de Paris
Hartmann et Fils, Munster, France, 1816–20
cotton Technique: printed by engraved roller on plain weave; mordant for red, printed on white.
Textile

A late version of the design by Lebas known as "Les Monuments de Paris". Design in red on white background consisting of important architectural sites of Paris such as Les Invalides, Porte Saint Denis, Tuileries Palace, Vendôme Column, Arc de Triomphe de Carrousel, Pantheon, Chambre des Deputés, Place de la Concorde and Saint Sulpice.
Ribbon
, mid- 19th century
silk Technique: satin weave

Pink silk ribbon with a broad central satin stripes and plain weave border with picot.
Cartouche representant fontaine et jardinages
Pierre Edme Babel, French, 1720–1775, 1743-1763
Engraving on off-white laid paper
Print

Rocaille cartouche in front of a fountain with a river nymph and a river god spilling water from vases. The plate is signed and numbered.
Design for a Round Table on Animal Hoof-Feet
A.N. Davenport Co., February 4, 1906
Graphite on thin, cream paper
Drawing

Round molded top wlth dividing stretcher running across center raised on 3 clustered columnar support sitting atop molded base with carved rosettes and acanthus leaves terminating in animal hoof feet.
Design for China Cabinet with Convex Front
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Oblong cabinet with convex center front, raised on 4 short tapering legs and has 3 shelves; top carved; center bottom inlaid with medallion suspended on floral garlands.
Design for Tureen, from Dixieme Livre des Oeuvre de Juste-Aurele Meissonier, plate 62 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Etching on off- white laid paper
Print

1921-6-212-24-a: Elaborate table centerpiece consisting of central ...;     1921-6-212-24-b: Covered tureen on stand. Cover is dominated by a l...
Cobwebs
John Taylor Arms, American, 1887–1953, 1920
Etching in dark brown ink on off-white wove paper
Print

View looking down a narrow hilly Brooklyn street toward the East River. The Brooklyn and Manhattan bridges are seen overhead, and the Manhattan skyline in the distance.
Textile with cloth marks
, 1750–1800
linen Technique: printed on plain weave

Length of unbleached linen with merchants marks stamped on it. The marks indicate agents and/or merchants.
Allegorical Figure of "Europe"
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1760
hard paste porcelain, vitreous enamel, gold
figure

"Europe" crowned female figure, holding sceptre and orb, seated on piece of entablature beside a standing horse; attributes; books, globe, palette, shield and suit of armor.
Rapid Study of Ocean and Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Waves coming up on shore, looking out towards horizon.
River with Large Trees and Possibly the Moon
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

River in foreground, extending back, and curving to left out of view. At left, an outcropping of land with two tall trees. Between the trees, in the sky, what could be a full moon (or the sun?). Opposite bank of river is across background covered in trees.
Fork with Silver Handle
, 1725–1750
silver, steel, horn or tortoise shell
fork

Two-tined steel fork with round shoulders and baluster neck. Tapered beaked handle of rectangular section with cushion sides. Ribbed and engraved silver ferrule and end. Two horn or tortoise shell plates; one side inlaid with silver reclining female nude and cherub in landscape; opposite side with standing female nude with raised parasol. Silver side panels engraved with scrolled foliage. Handle shows partial inscription in fraktur letters (possibly "Ang" or "Guv") painted in glossy red pigment.
Beaker
, ca. 1700–25
glass

Four Continents
Four plant-like pedestals
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Four plant-like pedestals. All four have curly leaf-like elements and taper toward the top. The third pedestal widens again at the top from which a garland is suspended.
Toad
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1890
Silver
Matchsafe

In the shape of a toad, its feet folded up against body, its belly smooth, the back textured with bumps, some green patination in crevices. Hinge attached to top of head. Head (lid) flips backwards, hinge on back. Sides of thighs have hatch marks likely intended to serve as strikers.
Advertisement for Patented Medicine
, ca. 1880
Chromolithograph
Trade card

Depicted on recto: Toll Gate #4
Textile
, early 19th century
cotton Technique: roller printed on plain weave

Pillar print fragments showing a single vertical fluted column with elaborate Corinthian-style capitals. Flower garland sweeps across the front of the column while other sprigs, branches and blossoms fill the ground on both sides.
Tombeau monumental avec urne funéraire au premier plan (Monumental Tomb with Urn in the Foreground)
Jean-Laurent Legeay, French, ca. 1710–86, 1768, published 1770
Etching on cream laid paper
Print

One of a suite of 26 plates of urns, vases, tombs and fragments of sculpture set among classical ruins, heavily overgrown with vegetation. Suite divided into three parts. Tomb pictured center right behind vegetation ornamented with horizontal friezes with figures and a plaque.
Hounds at Play
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on tracing paper
Drawing

Within a decorated rectangular frame, two hounds facing each other, playing. Ornamental swirling lines in background.
Plate
Royal Worcester, English, established 1751, 1904
porcelain, vitreous enamel, gold
plate

1972-5-15-a: Blue floral marli and center medallion on white gr...;     1972-5-15-b: Plate with blue floral marli and center medallion ...
Bed hanging
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered in counted running stitch on plain weave

Three panels of heavy unbleached linen tabby sewn together and embroidered in red silk in typical Naxian large-scale pattern of 4-pointed stars filled in with long diamond or leaf shapes in form of cross, with small geometric ornament reserved in the solid embroidery.
Frieze
, 1905–1915
Machine-printed paper

On cream ground, alternating tall and short plants on green stems and bushy beige and cream blossoms. Upper border has row of beige flowers with rounded blossom in beige and cream; lower border has purple three-leaved plant on green grass.
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small foliate medallions. The larger medallions are enclosed within a wreath of bellflowers, and tied with a bow knot at the bottom. A swag is suspended from a band of beads at the top edge, while acanthus scrolls form a band at the lower edge.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Mix of Mission and Art Nouveau styles. Alternating large and small vertical rectangles topped with an abstracted bulbous shape surmounted by a small fleur-de-lis. Bottom portion contains swags which lead up into the rectangles. Above each swag are abstracted ivy leafs and below are acanthus inspired decorations. Background contains horizontal straitions. Printed in brown, white, and shades of green.
Sidewall
, 1835–45
Block-printed, machine made paper

Buff vertical stripe formed by arabesques alternating with buff-edged cartouches with white filigree, floral bouquets.
Abstract Blossom Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Various sizes and widths of abstract blossoms form this motif. Crossed lines that overlap in the center create a simple flower structure.
Two Sketches at Mont. St. Michel
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Two Sketches, left, sketch of stairs leading to street with large house, figures walking between buildings, vegetation in front of large house, lower left, figure standing. Right, sketch of tower and wall from below.
Fashion Plate with Ladies' Headwear and Shirtwaists
, 19th century
Hand-colored engraving on paper
Print

Fashion Plate with Ladies' Headwear and Shirtwaists.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Rectangular molded tile of white clay. Face of tile shows pair of joined tile faces decorated with pair of joined rosettes surrounded by scrolling tendrils and framed in a plain band frame. Tile glaze mustard yellow.
The Second Installation of Cromwell as Protector, in Westminster Hall, June 26, 1657
Frederick Coffay Yohn, American, 1875–1933, ca. 1900
Brush and grey and black watercolor, white gouache, on illustration board
Drawing

Illustration showing Cromwell seated, center.  Some figures bow to him, while others raise their swords and cheer.
Sewing case
, early 17th century
silk, metal, wool Technique: woven

Small, egg-shaped case, flat on one side with a top of blue silk and metallic thread in a small stylized floral design. The back is faced with a fragment of patterned silk. Attached to this a small faded pink taffeta case with a drawstring closure. Case holds three pieces of bright red wool, probably for needles.
Cecil
Lewis F. Day, ca. 1890
Block-printed paper, embossed, hand-rubbed oil finish
Sidewall

Imitation leather. Large scale design of interlacing bands and conventionalized flowers, with vase and tulip forming center axis. Embossed and gilt, and the ground over-printed with green. Straight match and repeat.
Organic Clusters
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Various clusters of different organic shapes form this textile. The biomorphic shapes are evenly distributed within clusters, separated by negative space. Some paste is spotted mainly on the lower right corner of the stencil.
Picture Gallery, New York Fair
, 1864
Wood engraving on paper
Print

View of the picture gallery at the New York Fair of 1864, showing a large gathering of people. Caption reads: Picture Gallery of the Fair, Fourteenth Street Building
Sampler
, 17th century
silk and linen embroidery on linen foundation Technique: embroidered in satin, chain, double running, running, montenegrin cross, eyelet, and loop and twist (needle lace) stitches on plain weave foundation

Bands of pattern in green, blue, faded red, and yellow.  Two alphabets and monograms RW, TV, GV, and GW.
Border
, 18th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Fragment pieced in two places. Cream-colored hand-woven linen, embroidered in red, green, yellow, blue and pale rose silks. Stylized plant form flanked by birds in profile. Narrow geometric guard borders.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pattern of scrolling acanthus foliage forming wreaths with each containing a green floral sprig. Printed in metallic gold and green on tan ground.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a figure with a top hat reading a newspaper, reclining on a couch or bench. The left knee is bent, and the left leg is tucked under the right, which is stretched out.
Study of building
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of the corner of a building with a cactus plant.
Frieze
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1905–1915
Machine-printed paper, liquid mica

Borders printed two across the width. Bouquets connected by floral swags (both with yellow roses). Secondary connecting floral swag tied with ribbon bows. The space between the bottom yellow & white stripes and the bouquet/swag is decorated with a woodgrain-like pattern of orange and pink mica. Grounding shades from pink (bottom) to cream (top). Slight tears.
Printed in selvedge: "Benton. Heath & Co." Pattern No. "2644 WO"
Mount Starr King and Glacier Point, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

Landscape featuring shore with forest and mountain in right background.
Waistcoat
, 19th century
silk, linen, cotton corduroy Technique: compound weave

Gentleman's waistcoat with long lapels in black with an allover design of white flecks and floral sprigs with yellow, blue and red flowers. Lined with linen. Brown corduroy on the back.
La Matinée
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Right, woman at a piano with a child. Center, woman writing. Left, woman reading to a child. Title, artists' names below.
Sidewall
Pittsburg W.P. Co., 1896 – 1915, 1905–1915
Machine-printed paper, liquid mica

Foliate treillage pattern with foliate medallions in the resulting diamond-shaped negative spaces. Background has a black and blue moiret pattern. Grounding is dark red. Printed in blues, yellows, blacks, reds, pinks, and white mica.
Printed in right selvedge: "Pittsburg W. P. Co. New Brighton Pa. WP"
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small foliate medallions with torches and spear, connected by waving foliate scrolls and foliate vining. Bottom has scrolls, waves, and floral motifs. Top has key pattern and floral motif. Background is a white and blue grid. Ground is a dark blue. Printed in blues, cream, gold micas, silver mica, and dark brown green.
Printed in top selvedge: "Stanford Wallpaper Co. 877"
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Vining floral scrolls and swags with metallic gold scrolls. Dark pink ground on paper embossed with horizontal lines of white liquid mica. Printed in reds, pink, dark red and metallic gold.
Pillow cover
, 16th century
silk on linen Technique: counted running stitch embroidery

Oblong pillow cover of heavy cream-colored linen embroidered in red and cream silk, ornamented on four sides with small tassels of cream linen with a few threads of red and green silk. Fastened at one side with five pairs of trim linen cords. Design arranged in rows of stylized, detailed plant forms and geometric shapes. Elements staggered in parallel rows.
Unfinished Study of Rock (recto); Studies of Cliffs and Small Landscape (verso)
William Trost Richards, American, 1833–1905, 1890–1900
Graphite on off-white wove paper
Sketchbook folio

Recto: small, unfinished sketch of two hills; verso: quick sketches of three cliffs placed randomly on sheet. In upper left, small outline sketch of landscape.
Versailles, Gardens, Water Theatre
, 1689
Etching and engraving. Black ink on rolled paper.
Print

Vertical rectangle:  At left and right foreground, the corners of tiers of bunches.  At center a raised stage with small lowered fountains at its forefront.  In the stage background and wings a central and two diagonal allees with cascades, arching and straight water jets and pyramidal trees, leading through the woods.
Border
, 1820–1840
Block-printed paper

Open-weave rope border, with stylized floral motif in space between ribbons. Printed in grisaille. Similar in nature to rope twist or cable molding borders.
Scarf
, 1800–1850
cotton warp, wool weft Technique: block printed on 1/2 twill weave

Square white shawl or scarf with borders on all four sides and two paisley-type floral forms that project diagonally into the white central field. Border is a repeat of a symmetrical paisley-type floral between borders of triangular enframements. Each triangular frame contains a curving plant form. Four sides are turned under with fringe attached.
Board of Trade, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Room with men standing and sitting at desk; a table at center. Title, artists', and publisher's names below.
Study for "Hope and Memory"
Kenyon Cox, American, 1856–1919, ca. 1900
Bursh and oil paint, graphite on canvas
Drawing

Study for the head of Hope in the painting "Hope and Memory." Figure appears with blond hair and blue eyes, facing forward.
Fork Handle with Threaded Screw End for Attaching to Tines
, ca. 1700–1800
brass
fork handle

1985-103-261-a: Steel blade, parallel sides with rounded ends. Pla...;     1985-103-261-b: Tapering brass handle, round in section, engraved ...;     1985-103-263-a: Fork has three long curved tines, rounded shoulder...;     1985-103-263-b: Tapering brass handle, round in section, engraved ...
Overdoor
Xavier Mader, 1810–1820
Block-printed on handmade paper

Rough triangle with scroll, flower and ribbon decoration, at center of which is seated putto. Printed in grisaille.
Study of Sailboats, Venice, Italy
William Stanley Haseltine, American, 1835–1900, ca. 1871
Graphite on paper
Drawing

Sketch of sailboats with sails raised.
Sidewall
, 1870–80
Machine-printed

White and gray flowers against a black ground.
Sidewall
Becker, Smith & Page, Inc., founded 1899, 1900
Machine-printed

Design of grapes hanging from vines and grape leaves, printed over ground of beige stripes and darker dots on light green ground.
Sidewall
, 1860
Block-printed paper

Tall vase or urn in Renaissance style filled with bouquet of roses and other flowers, its base encircled by leafy foliage. Rests on a carved console. Printed in grisaille or sepia tones on green glazed ground.
Case from Traveling Cutlery Set
, ca. 1700
sharkskin, silver, brass, wood
case

1985-103-136-a: Sharkskin case with silver cap at tapered end. Sil...;     1985-103-136-b: Knife with saber-shaped blade, rounded bolster, an...;     1985-103-136-c: Fork with two long pointed tines, curved shoulders...
Design for a Painted Porcelain Plate, Le Scorpion (Scorpio) from le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown ink, brush and brown, black wash, white gouache, pink, tan watercolor, white gouache, red crayon, graphite on cream laid paper mounted on cream laid paper, image bordered in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene inside a house.  Figure of a woman, left of center middleground, points out a jar holding a scorpion to a young boy to her right.  Behind them, left background, partially draped with a striped fabric, are shelves holding canisters. A young girl with boy holding a hoop in his right hand, right foreground, discuss the scorpion. A large window/door, right background, shows a view of trees.
Waistcoat
, 1765–75
silk, metal Technique: embroidered with metal-wrapped silk, sequins (pailletes) and coils of wire of two types; on a foundation of plain weave silk with continuous supplementary weft of metal-wrapped silk

Gentleman's waistcoat in off-white silk with metallic, embroidered lightly on the front and lower edges and pocket area with gold thread, colored metallic sequins and coils of wire.
Fragment
, 18th century
bast fiber Technique: resist patterning on plain weave

Textile with allover pattern of blue resist on ivory showing rows of curving floral branches in offset alignment. Selvage on one side.
Frieze
, 1905–1915
Machine-printed paper

Series of medallions, alternating between large and small, framed by "C" scrolls, and filled with bouquets of flowers. A floral swag runs across the bottom. Small bouquets of flowers hang vertically from the top of the frieze. Printed in gold, white, and shades of pink and green.