biglam/cooper-hewitt-alt-text huggingface dataset:
Chicago Stock Exchange
Louis Henry Sullivan, American, 1856–1924, 1893–94
Copper-plated cast iron
Frieze panel

Rectangular panel with raised moulded borders (lacks end frames) around a series of horizontal and vertical overlapping ovals centered by lozenges alternatingly of raised foliage in the vertical ovals and with a star in the center of the horizontal, the spandrels around the vertical ovals also with foliage in relief, the horizontal with interior curved lozenges on top and bottom; the cast iron with traces of copper patination.
An Interior
Mary Ellen Best, 1809 – 1891, 1837–40
Brush and watercolor, graphite on off-white wove paper
Drawing

The boldly patterned wallpaper, green draperies and matching upholstered furniture shown in this interior impart an air of masculinity to the room. While the proportions of the windows at left would be suited to a room intended for formal receptions, the desk, bookcase and work table suggest that this interior has been converted to a working study, in which the occupant is surrounded by his pictures, books and sculptures.
Border
, ca. 1830
Block-printed on joined sheets

Simulated drapery border with two different patterned fabrics alternating. One contains a central floral swag, the other contains all-over patterning.  Each has a fringe along the bottom edge. Printed in green and pink.
Sketchbook Page: Sketch of Flower
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of single flower, left; sketch of flowers on stem, right. 
Verso: Sketch of plant with large pods or protrusions.
Sampler
, 19th century
glass beads and silk embroidery on cotton foundation Technique: embroidered in satin, cross, stem, and overcasting using beads on plain weave foundation

Unfinished sampler of embroidered beadwork pictures including animals and sacred monograms.
Darning sampler
, 1814
silk embroidery on cotton foundation Technique: embroidered in running, satin, and cross stitches on plain weave foundation

Ten squares of darning pattern, four patched corners, insert patch in center with crowned monogram and "gottmit uns" in a square.
Tassel
, 17th century
linen, wood Technique: braided and knotted Label: Braided and knotted linen, wood

Linen tassel, braided and knotted. Long braided stem of varying widths and some knotting terminating in center unit made of three disks with much knotting attached.
Lapis Polaris Magnes (Invention of the Compass), plate 2 of the Nova Reperta (New Inventions for Modern Times)
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Engraving on paper
Print

An old man, identified as the legendary Flavio Amalfitano, seated at his desk using a compass and reading a book; tools, books, and instruments are arranged around the richly furnished room; a dog is at his feet. A model of a ship hangs above and in front of him.
Head of Diana
Samuel Ireland, English, ca. 1744–1800, 1786
Etching and aquatint on paper
Print

A portrait of a young woman in three-quarter view towards left. Helf-length, her hair is held together by a ribbon upon which is fastened the half-moon in front. Illustration for Ireland, "Graphic Illustrations…" I, 170.
Chintz
, 18th century
cotton Technique: mordants for 2 reds, purple and black applied by pen and brush, then immersion dyed in madder; 2 shades of blue; yellow applied by brush; chintz on plain weave

Curving floral stripes of carnations and roses in an alternate arrangement of motifs.
The Flagellation of Christ, from series The Passion of Christ
Martin Schongauer, German, 1450–1491, ca. 1480
Engraving on cream laid paper
Print

Christ is at center being flagellated by men surrounding him. At left, a man kneels to retrieve a crown of thorns.
Sidewall - fragment
, 1840–80
Block printed paper

Stylized floral design, printed in green and white and at least one more fugitive color. Printed on tan ground.
Scenic Panel from 'La Guerre de I'indépendance Américaine'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1852–53
block printed paper, canvas mount
scenic panel

The background of "Les Vues d'Amerique du Nord" is used for scenes of the American Revolution. At the left, background, is seen the natural bridge, Virginia; in foreground, British troups are retreating, firing as they do so. Lengths 25 and 26 adhered together on a panel, from a set of 32. Paper label affixed to top left corner.
Sketchbook Page: Wings
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Two sketches of wings, one above the other.
A Kneeling Angel
Elisabetta Sirani, Italian, 1638–1665, 1770–1800
Black chalk on buff-colored paper
Drawing

A kneeling angel faces half right, with left hand resting on breast.
Bowl
, ca. 1810–30
Glass

Round body on short foot, 2 fan-shaped handles extending up from scalloped lip; body cut with design of vertical sections each with an oval panel of small diamonds, thin vertical fluting sections around lip, rayed flutes on handles; cutting very sharp.
Stained glass window
John C. Wolf, 1890–1900
Brush and watercolor, white gouache, pen and black ink, graphite on illustration board
Drawing

Pointed arch stained glass window with geometric lead pane in soft yellow; lunette containing circular medallion with pink flower on blue; small blue plants on either side; below tripartite orange shapes framed in green.
Carriage
R.Ackermann & I.G.Beygangs, 1799
Engraving, brush and watercolor on paper
Print

A black and green open cab with two large wheels on one axle beneath the seat; a vertical post dropped in front for a third support when unhitched. The publishers' names and date below.
Fragment
, late 18th century
silk Technique: cut supplementary warp pile (velvet) in a twill weave foundation

Horizontal fragment of cut velvet in black and white on a white ground in a design of riders on horseback and a horsedrawn carriage. Known as "velours miniature."
Sidewall
, 1840s
Block-printed on paper

Naturalistic bouquets and small diamond pattern with printed background on buff paper.
Fragment
, 1650–1700
linen Technique: bobbin lace of discontinuous tape; six bobbins used for connecting bars

Lace fragment with a central design of a double-headed eagle surrounded by scrolls of large-scale floral and foliated forms connected by bars.
Christ Before Pilate, from series The Passion of Christ
Martin Schongauer, German, 1450–1491, ca. 1480
Engraving on cream laid paper
Print

Christ is seen at right, wearing a crown of thorns, held by a group of soldiers. Pilate sits on his high chair, slightly to left of center, facing the viewer. He washes his hands in a basin held by his servant, at left. Two dogs in foreground.
Bowl
, 19th century
Glass

Shallow round bowl cut with alternate panels of strawberry diamonds and panels with fan cutting and tiny diamonds, top edge scalloped; tall stem with round faceted knop, flat circular base with radial cutting on bottom; glass has greyish case, heavy.
Darning Sampler
, late 19th century
silk and cotton embroidery on linen foundation Technique: embroidered in counted running (pattern darning) stitches on plain weave foundation

Sixteen squares of pattern darning and mending.
Decanter with Rose, Thistle, and Shamrock
, ca. 1800
Cut and engraved blown glass
decanter

Bulbous lightly blown body, 2 neck rings-knotched, everted lip, row of everted lip, row of faint molded vertical fluting bottom of sides, above engraved with a rose, thistle and shamrock; target-shaped stopper with waffle pattern; pontil mark surrounded by makers mark (faint) and light fluting to edges.
Fragment with factory stamp
Miles & Edwards, 1847, ca. 1830
cotton Technique: block printed on plain weave fabric; block registration marks visible

Factory mark at one end. Pattern of scattered dianthus (pinks) in three reds and two green on natural.
Purse
, 1640–1700
silk, silver-wrapped silk, silver wire Technique: tapestry woven

Folding flat pocketbook in an envelope shape with pattern of flowers in a vase. Large loop of gold cord to fasten flap. Edges bound with narrow metal braid and lined with pink silk.
Panel
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered in satin, stem and couching stitches on plain weave

Oblong panel, possibly part of a bed cover, of dark cream linen sheer plain weave embroidered in polychrome silks in red, blue, yellow, white and green, with red and blue predominating. Design consists of one element, a wreath, formed of a long serrated leaf at eath side, open at the top, framing a floral spray.
Granada
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Looking up a slope, across roofs of houses
Textile
, 19th century
silk, metallic thread Technique: warp-faced plain weave patterned by continuous and discontinuous supplementary wefts bound on the front in 1/3 twill

Straight repeat of curving floral forms in multiple colors and metallic thread on a blue-gray background.
Piccadilly Looking Toward the City
Thomas Shotter Boys, English, 1803 – 1874, ca. 1840
Lithograph
Print

Street scene, Egyptian Hall at right, Patent Office on Old Bond Street at left.  Installation of water system is shown at right.  People looking up at two ballons in the sky.
Border
, 1880–89
Machine-printed on paper

Aesthetic or Anglo-Japanesque-style border; stylized floral motifs and geometric shapes. Printed in burgundy, black and white on ocher ground. Band of parquet or basket-weave design across bottom edge and beading across top edge. Printed two across.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Mission Syle. Divided into square and rectangular panels. Large square panels have a medallion with a hanging pendant of stylized roses, ribbon, leafy laurels. The rectangular panels have small floral bouquets with vining, bordered by individual stylized roses. Background has blotchy cloud-like pattern that reveals the ground shaded from dark green brown to cream (now faded). Printed in pinks, greens, blue, pink orange, green brown and beige. 
Piece reattached in the upper left corner. 
Printed in bottom selvedge: "York Card & Paper Co." "1366"
Sidewall
The Art Wall Paper Mills, 1896
Machine-printed

Graded vertical lines spaced with vertical dotted bands. The latter are broken at intervals by motif of simple pink rose surrounded by green leaves and pin dot decoration. Roses are in drop repeating relationship. Drop match. Printed in five colors and gold on neutral ground.
Nine of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Nine of Clubs playing card from a pack of transformation playing cards. Vertically, an elaborate scene depicting a funeral procession: a highly ornamented horse-drawn carriage carries a coffin draped in a cloth decorated with the cross. Ecclesiastical architecture in the background. At the rear of the coach, two male figures, possibly footmen, follow the processional. A man at left edge shows a gesture of respect and removes his hat.
Sampler
, 18th century
wool on linen Technique: embroidered

Long narrow sampler with horizontal bands containing the alphabet, numerals, and geometric figures.
Purse
, late 17th–early 18th century
silk, metal Technique: woven

Envelope-shaped purse or letter case of faded red silk with woven design in silver. Back and front, fountain with large flowers at sides. Border of zigzag and pointed shapes. Flap has symmetrical foliage decoration. Edged with narrow silver braid. Lined with pink taffeta.
In St. Peter’s, Rome
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Four sketches of a monk, with beard and glasses. Upper left, profile view facing right. Upper right, bust of monk. Lower right, back leaning on a column, facing right. Lower right, monk faces left, head slightly titled up.
Creamer
Royal Worcester, English, established 1751, ca. 1770
soft paste porcelain, vitreous enamel
creamer

Blue and white jug with floral decoration.
Shawl
, 19th century
wool Technique: embroidered and pieced Label: wool embroidery on wool twill weave, pieced together

Square multicolored shawl with a patchwork border of small fringed pieces has a small black star-shape in the center.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Capitals with floral motifs, and a medallion with face in the wall, center, labelled in the Maison d'Agnes Sorel.
Embroidered picture
, 17th century
silk and silk-wrapped metal thread embroidery on silk foundation Technique: embroidered in satin, stem, and couching stitches with looping (needle made lace) on 4/1 satin foundation

Abraham and Isaac in central medallion.  Attributes of the four elements: earth, air, fire, and water in each corner, and attributes of the four continents the middle of each side.
Frieze
, 1905–1915
Machine-printed paper

Large-scale very stylized floral medallion alternating with smaller medallion. Band of swags runs along top edge, while larger band of floral sprigs runs along bottom edge. Printed in green, white, red, beige and metallic gold on background that shades from red at top to deep red at bottom.
Fjord in Norway
William Trost Richards, American, 1833–1905, 1901
Brush and watercolor, graphite on paper
Drawing

The sea at right with high mountains in the background. Slope of land in foreground, left.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Red damask patterned by two offset rows of flowering plants; a different plant in each row.
Sewing sampler
, early 19th century
cotton Technique: sewn and embroidered on plain weave foundation

A long piece of handwoven cotton stitched with buttons, button loops, buttonholes,  hemming, tabs, hooks and eyes, and lace fillings. KM12 is embroidered in red cross stitch at one end and KM18  in knot stitch at the other, possibly dating the piece to 1812.
Dado
Jacquemart & Bénard, France, 1790
Block printed on handmade paper

Vase at center, from which are suspended ropes of pearls. Two winged terms at either side catch up the ends of the pearl ropes and with their hands grasp the paws of two addorsed griffins seated at the base of the vase. Columns and drapery at either side.  Printed in shades of mauve, turquoise, blues, pink, taupe, brown, yellow, orange, black and white.
Royal Circus from Ackermann's Repository
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint with watercolor on paper
Print

Horizontal rectangle. Theater, with audience standing in the pit; seated in boxes and parquet. Clowns on stage, and a large teapot between houses. Title and artists' names below, publisher's name above.
Beach with Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Waves coming into shore on beach, cliffs on right.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on pale green wove paper
Drawing

Floral border design, multi-colored flowers, scattered buds on field above. On white ground.
Sidewall- fragment
, 1800–1825
Block-printed paper

Blue and white diamond diaper with simplified flowers.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Quatrefoil motif created by four stylized tulips and foliage, connected to other quatrefoils by floral swags or wreaths. Printed in tan, brown, and green on honeycomb-patterned tan background.
Border
, ca. 1850
Block-printed and flocked

Floral and leaf design intertwined with acanthus rinceau. Band of architectural molding runs along bottom edge. Printed in green, white, ocher and black on deep red ground.
Houses on the Bank of the Tougnes in Trouville
Eugène Edouard Soulès, French, 1811–1876, 1840–1860
Graphite, black crayon on paper, mounted
Drawing

A group of mansions at right. Stately structures and a steeple are in the background beyond the water.
Elevation du Chasteau de Fayelle du costé de la cour / Entrée du Chasteau de Fayelle appartenant à Monsieur le Mareschal de la Motte Haudancourt / Face du Chasteau de Fayelle du costé du Jardin
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Three architectural exterior elevations of the Castle of Fayelle, one above the other, with scales below each design. The upper and lower designs illustrate different facades of the castle with portico entrances supported by columns, with frieze above, windows and dormer windows. The elevation in the center illustrates the entrance gates with buildings on either side. The gates feature lion sculptures and columns. Each elevation is titled, and the plate is signed.
Woman With Hands Raised
Daniel Huntington, American, 1816–1906, 1844–45
Graphite, black and white chalk on grey wove paper
Drawing

Half-length sketch of a woman looking down, arms raised.  Left arm repeated, lower left. Right hand repeated, upper left.
Portrait of Jean-Paul Marat (1743-1793)
Jean Paul Marat, French, 1743 - 1793, ca. 1793-1803
Line and stipple engraving on paper
Print

Portrait bust shown in lying position. Head at right in side view. Marat's head covered with a scarf of which a part is on the pillow. He is wearing a dark coat with a white narrow scarf. The portrait is encircled by an oval frame inserted into a rectangular shaded field.
One of a set of twelve projects for the decoration of wall panels, to be placed at a height. Preceded by a title page (Wall Decoration: Angel and Escutcheon)
, 1675-1699
Pen and brown ink, brown wash
Drawing

Right side with an angel
Plate
, 1710–30
Tin-glazed thrown earthenware

Circular; lambrequin border and central basket of flowers in terracotta color and blue on white ground.
Stage Design of a Palace Interior
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Four different interiors of high vaulted halls decorated with sculptures.
Study for ''Commerce," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898–1899
Graphite on paper
Drawing

A  male figure seated in a reclining position with a staff in his left hand. The paper is squared for transferring the image.
Three monuments
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Upper row, at left: the architectural setting is similar to 1938-88-1339. Below is a rectangular panel above a base, decorated with an escutcheon standing in front of a trophy of weapons. Above it sit two winged female putti, of which the left blows a trumpet, in front of the panel of a pedestal, upon which two women lean upon the shoulder of an urn. The decoration of the niche is indicated. Beside at left is a plan as in 1938-88-1343. At right in inverse direction: a variation of 1938-88-1339, the niche being indicated. Below is a pedestal, with a broad projecting central part. The sarcophagus is similar to 1938-88-1295. The women at right carries a branch in her left hand. The putto above is sitting. The outlines of an oblong above belong to the design at left, indicating the next intercolumniation. Below, in horizontal direction: the architectural setting is imilar to 1938-88-1339, with panels instead of the frieze and the niche. The scheme of the monument is similar to 1938-88-1298. Two female allegories sit upon the pedestal in front of the lower part of the sarcophagus. The right one supports a shield or a medallion. A third sits upon the cover.
Speaker in 16th Century Attire Addressing a Crowd
Felice Giani, Italian, 1758–1823, ca. 1794
Black crayon on paper
Drawing

A man stands at a pulpit in a town square addressing a group of listeners.
Cartouche with Trumpets and Dragons
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank symmetrical upright rocaille cartouche with peacock feathers and two trumpets at top. Dragons at lower left and lower right. Vegetation and armorial trophies complete the ornamental scheme.
Plain at Suzaki Fukagawa (Fukagaw Susaki, Juman-tsubo) From the Series One hundred Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

The brilliant view of a flying eagle, captured in midflight shows details of the feathers. Soring at such a high altitude, the landscape appears bare and covered with an even layer of snow. Only suggestive outlines depict the water, trees, and silhouette of Mt. Tsukuba.
Section of a wall, Chinese Room, Palace of Fontainebleau
Frederick Marschall, ca. 1885
Brush and watercolor on heavy paper
Drawing

Section of wall, with decoration in Chinese taste. Wainscoting in black, with Chinese red border design. Upper portion, panels with Cinese landscapes and panels of Chinese silk in upper register.
Strapwork Design
, ca. 1650
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for vertical panel with strapwork and sphinxes.
L’OBSERVATOIRE
Gabriel Perelle, French, 1604–1677, 1667–1703
Etching on laid paper
Print

View of the Paris Observatory with telescopes, measuring devices, armillary globe, and figures in the foreground. Figures with telescopes on the roof of the observatory. The cityscape of Paris in the background. The plate is signed and titled with a description.
Elevation of a Carriage
, 18th century
Etching on laid paper
Print

Elevation of a richly decorated carriage, with panted panels depicting a coat of arms with branches, and carved ornament motifs includding piastre, urns, tassels, scrolls, and lion heads. The plate is signed CHOPARD. at the front of the carriage.
Cartouche Designs
Alexis-Nicolas Pérignon, French, 1726 – 1782, 1759
Etching on laid paper
Print

Four designs for rococo cartouches set into architectural elements - a cornice, an arch, and a pediment. The designs feature c-scrolls, s-scrolls, shell, acanthus leaves, flowers, masks, and foliate motifs. The plate is signed and dated.
Staircase Balustrade Design
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Design for an ornamental ironwork staircase balustrade decorated with laurel leaves, scrolling leaves (rinceaux), foliate scrolls, fleurons, rosettes, lamb's tongue motif, s-scrolls, festoon of flowers, mascaron (mask), sphynx, and a cartouche. The plate is signed and numbered.
Stage Design, Vaulted Classical Building
Angelo Toselli, ca. 1765? – 1826, ca. 1800
Pen and brown ink, brush and gray wash on wove paper, laid down
Drawing

Horizontal rectangle. Antique building with vaults supported by columns, coffered ceilings, stairs leading up.
Two women viewing the scenery
Katsushika Hokusai, 1760 – 1849, 1760-1849
Woodblock print in colored ink on paper
Print

Two women sit on the top of a pavilion taking in the view of the bridge and admiring the changing of the leaves. The bright red leaves on the trees inform the viewer that autumn has arrived. The abstracted undulating waves are a gesture associated with the famous artist Hokusai. Notice how the women lack a face, and their black hair acts as a silhouette as they blend into the water.
Trimming
, 19th century
silk Technique: woven

Pink trimming fragment in a design of ornamented lozenges with scrolls and leaf forms.
Botanical Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on gray wove paper
Drawing

Botanical sketch of a plant in Jamaica with long leaves at its base, a long narrow stem, and flowers at its top. Other sketches of leaves visible in lower portion of composition. At upper left, a detail of one of the plant's flowers is visible.
Botanical Sketches, South America
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on gray wove paper
Drawing

Botanical, architecture, and figure sketches of various scenes in South America, either Colombia or Ecuador. Plantain plants visible in upper left corner, with a tall, slim tree beside at right. In upper right corner, vines climb a palm tree. Below, at center, a sketch of a tile-roofed domestic structure with a man wearing a hat and poncho at right.