biglam/cooper-hewitt-alt-text huggingface dataset:
Border
, 1840–60
Block-printed on machine made paper, joined ?

A rococo molding design with edging of dentils and scallops, and a bead string on the top band. The central band alternates a zig-zag foliage garland with floral medallions and stylized floral ornaments. Printed in terra cotta, gray and black.

H# 61
Fragment
, 18th century
cotton Technique: block-printed on plain weave

Printing is in dull red and brighter red on natural ground.  Parallel stripes of dull red alternate with natural in which there are twining vines with leaves in the brighter red.  Colors are probably quite faded.
Pair of Trousers
A. H. Wirz, ca. 1886
Metal
Matchsafe

In the form of a pair of trousers with creases, back pocket, suspenders draped over hips, tool pouch on right hip, overall surface textured to simulate fabric. Flat, flip top lid hinged above tool pouch. Striker on bottom.
The Little Executioner, illustration to John Evelyn, "Sculptura"
Prince Rupert of the Rhine, Bohemian, 1619 - 1682, 1662
Mezzotint on off-white laid paper
Print

Profile of a bearded male figure, looking right, wearing a turban. This is the first mezzoprint published in England, a smaller version of a 1658 print by Prince Rupert of the Rhine, and after a painting once thought to be by Jose de Ribera.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Ashlar block pattern. Each block contains torch within a laurel wreath, with ribbons at the bottom. There is an outline of beading around each block. Printed in white and shades of gray on gray ground.
Koshari–or Indian Fun-maker, Santa Domingo, New Mexico
Eugene Higgins, American, 1874–1958, 1922
Etching in black ink on paper
Print

Figure with a headress turned towards the left, bending forward, with left leg and arms raised in a dance.
Sketchbook Page: Seated Figure
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Sketch of seated nude figure, with left hand resting on left knee and right hand on left upper arm. 
Verso: Sketch of seated figure, gazing upward at bird or foliage. Framing lines.
Portrait of Frans Francken, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1645-1650
Etching on paper in black ink
Print

Half-length portrait in three-quarter view to right. The sitter's left hand visible under a loose robe worn over suit.
Sidewall
Becker, Smith & Page, Inc., founded 1899, 1905–20
Machine-printed

a) Floral design, marked: "Becker, Smith & Page, Inc. Phila 282" b) seven fragments of scrollwork design in white, red and green on ungrounded paper.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Trellis or grid framework composed of bellflower wreaths, alternating large and small wreaths. The larger wreaths contain a quatrefoil motif. A dotted black circle is cented in the voids. Printed in red, yellow, and white on green ground.
Crewel wool fragment
, 18th–19th century
wool, cotton Technique: satin, stem and basket stitch embroidery

Fragment of embroidery with linear flowing vine pattern worked in colored wools on natural colored cotton; pale green, pink, soft red and shades of blue worked in satin, stem and basket stitches.
Fork with Green-stained Ivory and Silver Applique Handle
, 1730–50
green-stained ivory, silver, steel
fork

Three short tines, slightly curved shoulders, flat neck and rounded bolster. Ivory handle, painted green. Three silver appliques on each side of the handle in the shape of a lion and two scallops. Silver mount on the end of the handle has a floral decoration.
Sidewall
M.H. Birge & Sons Co., 1834, 1912
Block-printed paper, embossed, hand-rubbed oil finish

Imitation leather. Embossed paper similating leather, creating a panel effect. Armorial shields in frieze area at top of sample. Printed in colors and metallic gold on red ground.
Textile
, mid- 19th century
cotton Technique: relief printed on plain weave

Staggered repeat of a bouquet of flowers on a tan ground.
Sketchbook Page: Head
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Caricature of a face with a frown and prominent eyelashes.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist in a jacket and tie, looking directly ahead.
Fragment
, 16th–17th century
linen Technique: grid of withdrawn element with needle lace, reticella style

A narrow panel with repeat of a scroll.
Sampler
, 1801
silk embroidery on linen foundation (starched) Technique: embroidered in cross and four-sided stitches on plain weave foundation

Wreath with initials and date at top center.  At bottom house with a pool in front of it.
Sketchbook with Views of the Cornish Coastline
William Trost Richards, American, 1833–1905, after 1878
Pen and black ink on cream wove paper, bound
Sketchbook folio

Ocean with small waves on the left.  Steep cliffs on the right with one dark pointed cliff in the right middleground.
Frieze
Frederick Beck & Co., 1860, 1905–1915
Machine-printed paper, mica flakes

Flitter frieze containing rose swags outlined in mica flakes. Strung beads in gold suspended from gold fleur-de-lis. Printed on grounding that shades from light blue at the top to darker blue at bottom. Top and bottom have bands of gold mica flakes. Printed in pinks, greens, white, yellow, with outlines in gold mica flakes.
Printed in selvedge: "Mr. (?) Beck & CO." Pattern No. "6464"
Sketches of Stone Busts
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Two heads, with twisted beards; columnar bases. Sketch of same bust but drawn from different angles, center faces forward at an angle, bust at right, profile view of bust facing left.
Ceiling light suggestions for a music room
John C. Wolf, 1890–1900
Brush and watercolor, graphite on heavy white paper, mounted on gray illustration board
Drawing

Several stained glass suggestions some containing wreaths with ribbons; others with trophies composed of musical instruments.
Mountain Landscape with Tall Trees
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Rocky ground in foreground with very tall tree at center. Hill at right, on which there are additional tall trees, with more at left in distance. In background, tall, rocky mountains.
Frieze
Wagner, Wagner & Co. Inc, 1905–1915
Machine-printed paper, textured ground

Large foliate medallion with floral bouquet. Printed in shades of tan, brown and green on background that shades from tan at top to brown at bottom. Small floral swag and scrolls along bottom edge.
Assault of the Union Troops Upon Fort Thompson, Near New Bearne
Francis H. Schell, 1830 – 1909, 1862
Black and white gouache, with black wash, on illustration board
Drawing

The Union Army is making the assault on Fort Thompson. The army is in the foreground, and smoke is screening the trees in the background.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Horizontally-oriented diamond shape made up of flowers. Alternating pink and white flowers outline the diamond, white flowers at the center. Guidelines in graphite are visible with the diamond bisected horizontally and vertically.
Map of the British Isles
John Speede, 1552 – 1629, ca. 1770
Engraving, watercolors
Print

In the center, the British Isles, and at either side frames views of London and Edinburgh.  Royal arms and seal included.  Lower left, scale of miles in a frame ornamented with putti.  Verso:  two pages from book in which map was published.
Tile
Addison B. Le Boutellier, 1872 – 1951, ca. 1902
Earthenware, copper

Light buff earthenware body  with press-molded design of trees in a landscape.  Various mat glazes inlight green, dark green, brown and blues defined by raised partitions. The design of this tile is associated with a group of eight tiles that when placed together form a fireplace frieze entitled "The Pines".  Each element of the design is segmented by cloisons of clay, the raised contours partitioning the inlaid  glazes. Copper frame.
Fragment
, 10th century
silk and gold thread embroidery on cotton ground Technique: split-stitched embroidery on warp-faced plain weave

Fragmented and incomplete depiction of two lions in profile view, in light green, light blue, cream, brown, and gold.
Yoshiwara, Fuji, Rear View, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Horse with three women in balanced saddle, led by man, pass along road edged with pine trees. Left, Fuji in distance. Right, peaks of other mountains.
Fragment
, late 18th–early 19th century
cotton Technique: block-printed on plain weave

Fragment of cotton block-printed in red, green, and brown on dark brown ground, showing all-over pattern of a floral tree.  Small scale floral border set off on one side by a dark red stripe.
Sampler
Amalia Luccini, Italian, late 19th century
silk embroidery on cotton foundation Technique: embroidered in cross stitches on plain weave foundation

Twenty alphabets in bright colors within a curving border.  Numbers are at the bottom.
Band
, early 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Band in a symmetrical design of stylized palm trees framed by architectural shapes and foliage.
Fashion Plate from Le Monde Elégant
, 1876
Engraving, brush and watercolor on paper
Print

Three women on a river bank. The left one in black and light brown; center one in blue, gray, and black; right one in gray-brown and yellow. Title and date below.
Jar and lid
, ca. 1810
Glass

Round body cut with vertical flutes in graduated lengths, prismatic cutting above and below, with vertical flutes around lip, a star on bottom of base; domed cover with mushroom finial cut with star, sides cut with blazes of graduated lengths and short row vertical flutes at outer rim.
Chintz fragments
, late 18th century
cotton Technique: mordants (black, 3 reds, 2 purples) applied by brush, sometimes over resist; madder dyed; blue applied over resist; chintz on plain weave

Four fragments of a large design of flowering branches on a white ground.
Two Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Second plate from a series of ornament panel designs. Two vertical panels with arabesque and neoclassical motifs including flowers, fleurons, leaves, cornflowers, festoons of flowers, leaves and beads, foliate branches, rinceaux, rosettes, acanthus leaves, birds, cornucopia, winged putti, mask, vignettes with figures, and ribbons. The plate is numbered and signed.
Decorative Panel Design
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for a decorative panel featuring arabesque and floral motifs including festoons of flowers, ribbons, basket of flowers and fruit, scrolling acanthus leaves (rinceaux), and s-scrolls. The plate is numbered.
Trophée d’Agriculture
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on laid paper
Print

Title page and design for an ornamental agricultural trophy. A vignette with trees, grass, foliage, baskets, a hat, jugs, fruit, vegetables, flowers, scythe, sickle, shovel, rake, and other agricultural tools. The plate is titled, numbered, and signed.
LA MAISON DE SCEAUX
Adam Perelle, French, 1638 – 1695, 1674–1683
Etching on laid paper
Print

View of the garden façade of the palace of Sceaux with parterre planting, basins, and fountains in the foreground with garden walls and steps. Trees to the right and framing the scene. Figures (courtiers) throughout the grounds. The plate is titled with a description.
Spoon with Flower Bowl Decoration
Hans Henriksson Wettersten, active, 1682 - 1726, ca. 1700
silver
spoon

With deep oval bowl engraved with a five-petalled flower, the short stem notched and cross-banded with cast trefoil terminal embossed with a mask (?)
Détail du Billard
Pierre Claude Delagardette, French, 1745 - 1792, 1775-1788
Etching on off-white laid paper
Print

Detail of the construction of a billiard table. The plate is signed and numbered.
Title Page: Arabesque Ornament Design
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1788–89
Aquatint and etching on laid paper
Print

Title page and arabesque ornament design featuring neo-classical grotesque motifs, portrait roundels, portrait bust, female herms, baskets of flowers, ribbons, hanging trophies of musical instruments, scrolling acanthus leaves, foliage, birds, rosettes, quivers of arrows, a vase, and festoons of flowers. The plate is titled and signed.
Project for a Ceiling Frieze
, ca. 1650
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At right is a trophy with a rectangular shield.
Sampler
, early 19th century
silk embroidery, cotton foundation Technique: cross stitch on plain weave

Detached motifs including the Holy monogram, a bird on a branch, a woman standing at a gate, a carriage with horse and drivers and the initials "A.M."
Veüe du Palais des Thuilleries du costé du Jardin, achevé soubs le Regne de Louis 14
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the garden façade of the Tuileries Palace in Paris with a garden parterre, and figures, carriages, and horseman in the foreground along a central tree-lined road. The building façade features windows, pilasters, arches, and pediments. The plate is titled and signed
Eagle Lake Viewed from Cadillac Mountain, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850–60
Oil and graphite on paperboard; verso: graphite
Drawing

Landscape sketch showing a view of the sun setting over Mt. Desert Island in Maine, looking west over Eagle Lake from the summit of Cadillac Mountain. The immediate foreground includes the nearby rocky and wooded slope, loosely rendered, with a barren tree at left, which descends to Eagle Lake, prominently featured at lower center. Bounded on all sides by heavily wooded hills and mountains, the lake brightly reflects the sun's light, which also casts a shadow of the nearby ridge on the lake's surface. In the middle distance at left, a round prominence--possibly Connor's Nubble--abruptly rises behind the lake. A rolling landscape interspersed with numerous reflective lakes extends from the middle distance into the background, where it forms an undulating horizon. Unobscured, the sun shines brightly at upper center, radiating beams of white light in every direction. The sky is a layered mix of sunset tones, with thin bands of pink clouds along the horizon, darker banks of puffy clouds at left and along the upper margin, and a hazy sky gradating from a warm peachy gold to a darker blue-green. 

Verso: Landscape sketch showing a loosely rendered view of a low sun over an extremely mountainous landscape, with a tall, sharp prominence at far right, another craggy hill at lower center, and a rugged mountain range in the background that makes for a serrated horizon. Rolling, indistinct landscape extends from foreground to background.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

With blue field. Flowers and foliage, with diapered scrollwork.
LE FEU D’ARTIFICE
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Sixth plate from a series of twelve scenes depicting children's games, framed within decorative rococo cartouches. The scene shows a group of children playing with fireworks within a landscape, one of the boys is laying on an element of the cartouche. The title is lettered below the cartouche, the plate is signed and numbered.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Partial sketch of a female woman wearing a shawl.
Three Women in a Landscape
François Boucher, French, 1703–1770, 1751
Etching on laid paper
Print

A pastoral scene with three women in a garden landscape. A woman seated by a tree with two women behind her, picking at flowers and putting them in her hair. A basket of flowers next to her. She pulls up her skirt to reveal her knee and is dipping her foot into a stream of water in the foreground. The women are barefoot. A trellised fence to the left with foliate branches. The plate is signed and numbered.
Title Page: Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace, overmantel mirror with painting above) illustrated as a detailed wall elevation with two different options in the design (split within the middle). The chimney piece and overmantel features rococo ornament and motifs including c-scrolls, scrolling leaves (rinceaux), fleurons, shells, sprigs, cartouches, feathers, acanthus leaves, and meander or ‘Greek key' motif. There is a two-candled wall sconce on the right side. And a decorated fireplace backplate on the left side. The wall panels (boiserie) flanking the design are plain (ornament on the Dado level of the left side) with outer moulded frames - long horizontal panels with dado panels below and a rounded cornice above. The round overmantel painting is framed by two cartouche style design options and depicts a hunting scene or a deer in a landscape. The plate is titled, numbered, and signed, with a scale below.
Design for a Monument
Giuseppe Barberi, Italian, 1746–1809, October 1796
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Mathematics, Painting seated upon a pedestal support the cardinal's portrait. The pedestal is intended for the inscription; it is decorated with a garland. An apse is shown in the background.
Vue de l'angle du même Cabinet; Vue de l'angle du même cabinet, montrant à gauche une grande fenêtre et à droite le tableau de Zéphyr et Flore, 2nd Plate, plate 88 in L'Oeuvre de Juste Aurèle Meissonnier, Paris, 1748
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Engraving on white laid paper
Print

Large-scale drawing of a corner angle of Count Bielinski's Cabinet (1941-6-212-45), showing a window at left and a full-view painting of Zephyr and Flore at right. The painted shows a winged Zephyr holding the chin of Flore, surrounded with putti and garlands of flowers.
Winged Putti in Clouds
, 1800–1850
Red chalk on paper
Drawing

Two winged putti flying amongst clouds.  One seems to hold the other back with his embrace.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

Top and right: Flower boughs and the spiral of a shell. Bottom left: a plant surrounded on top by heads and rising over a row of seeds.
Frame
, ca. 1745
Cast and fire-gilt bronze

Circular, with large rocaille foliation; hinged circular rim on inner circumference for holding glass. Part of a clock.
Buffet de Menuiserie feinte en marbre d'un côté avec Ornemens de bronze doré
Jean-Baptiste Le Roux, French, ca. 1677-1746, 1700-1743
Engraving and etching on paper
Print

Divided Sideboard design. The left side features wood paneling painted in imitation of marble. The right side features inset shelves in the paneling, filled with vases and a magot. The commode in front of the center features lion heads with rings in their mouths. The plate is not signed or numbered
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three cartouches comprised of, from top to bottom: a cartouche with an animal skin, a bow and quiver; a crowned cartouche between an eagle and a dog, with fasces and a flag; and a cartouche with two anguipeds. The plate is signed and numbered.
Elevation d'une niche avec sa Coupe
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation and cross section of a niche. The plate is signed.
Handscreen
, early 19th century
Block-printed paper leaf with applied lithograph, turned wood handle

Hexagonal handscreen with a circular medallion in the center with a classical scene, surrounded by floral borders in green and white.
Bandbox
, ca. 1830
Block-printed on handmade paper, pasteboard support

Blue field, with printing in brown, green, pink and white. Tempietto with setting of trees and one figure. Cover has castle on top of a mountain rising from a lake.
Project: the decoration of a panel
, 1600–1625
Pen and ink, charcoal, on paper
Drawing

In the middle is a vertical oblong, with a woman standing in a scrollwork structure. A recumbent cat is above the upper scrolls at left, a child at right. The frame is decorated laterally with candelabra, which have women standing atop of canopies in the upper sections, from which ribbons hang with crossed legs and crayfishes. In the center of the upper framing strips are storks beside a pedestal with satyr masks. Below are two stags running beside a vase.
Man
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Above, Sketch of a male figure; Below, Partial sketch of a building's facade with a "Duguey Peluguer" billboard.
Winter Sunset in the Hudson Valley, Looking Southwest from Olana
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil, graphite on paperboard
drawing

Landscape sketch showing southwestern view of Hudson River Valley from Church's farm on Long Hill, near Hudson, N.Y. Fields and wooded hillsides visible in foreground. Beyond, the Catskill Escarpment is rendered in purple with Overlook Mountain at center. Fog inundates valley between. Above, partly cloudy twilight sky rendered in gradient from orange to yellow to aquamarine.
Mount Washington, Mount Madison and Mount Adams from Bridge, North of Gorham, New Hampshire
Daniel Huntington, American, 1816–1906, September 1862
Graphite on grey-green paper
Drawing

Stream and branches in foreground, with high banks at left and right and mountains beyond. House on bank at right. Verso: Mountain at right, valley at left, and mountains beyond.
Diverses Pieces d'Ouvrages de Serrurerie
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for metal pilasters and balconies. The plate is signed and numbered.
Landscape
, 1600–1630
Black chalk, pen and ink on paper
Drawing

Unfinished foreground. A seated old man and another seated figure are shown, likely representing either the temptation of St. Anthony or Anthony visiting St. Paul the Hermit. Mountainous wooded country with a stately villa in the right middle plane.
Textile
, 18th century
cotton Technique: printed by engraved copper plate on plain weave

Textile printed in red on white background showing four vignettes of country scenes with people and their  virtues.
Tomb Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. Both plates feature elevations of tomb designs. The plate at the left depicts a sculptural tomb set within a niche, with statues of a seated winged female figure, a standing draped woman, and a coat of arms with trophy, in the process of being draped. The tomb of the right plate, inscribed with the letters DOM, is placed below a large religious painting. Both plates are signed with Oppenord's name and are numbered.
Design for clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red, green watercolor, black wash, graphite, on cream laid paper
Drawing

Base on cushion feet, upper portion with circular elements simulating spouting water in center and at each side. Above base are two mermaids, one blowing a horn, the other covering her ears. They are seated in water, flanked by tall sea grass. Above is a clock, topped by a circular fountain.
Sidewall
, ca. 1785
Block printed on handmade paper

Medallion of large shallow bowl, with three feet and link handles, filled with flowers, alternates with scene of woman under an arched lattice playing with a cupid. Framework of ribbon festoons, garlands and scrolls. Printed in reds, greens and blues on a pale blue field. Vertical rectangle.