biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Art Nouveau/Mission Style. Alternating tall and squat vases with stylized flower insets. Vases are outlined with small leaf pairs and decorated with a mosaic-like pattern. Bands of green liquid mica at bottom, bands of leaf and mosaic in the middle (behind vases), and green band and leaf pattern at top. Grounding shades from beige to cream. Background later of intersecting horizontal and vertical lines. Printed in beiges, creams, green, and gold liquid mica.
Printed in selvedge: "Standard Papers 1"
Sketches of a Building and a Ruin
Remigio Cantagallina, Italian, ca. 1582–1656, 1610–30
Pen and black ink on laid paper
Drawing

Left: sketch of a crenelated building over a culvert and a tree before it; right: a circular building and a ruined circular structure.
Cliffs over Portree Harbor
William Trost Richards, American, 1833–1905, 1880
Graphite on white wove paper, lined
Album page

Quick sketch of cliffs in middle distance over water in foreground
Stained glass window: Young Christ among the doctors
John C. Wolf, 1890–1900
Brush and watercolor on heavy paper
Drawing

Christ at center with three robed older men surrounding him.
Bowl
, ca. 1856
glass, silver

Oval bowl with wide flared lip scalloped at edge; cut with star on bottom, row of printies around base; tall silver loop handle, lobed and engraved with floral motifs, ornate mounts at joining to bowl.
Sidewall - sample
The Art Wall Paper Mills, 1907–08
Machine-printed

Medallion stripe design. Large red medallion with ornate framework, containing bouquet of flowers, on vertical striping.
Fragment
, 16th–17th century
linen, silk Technique: needlework on gauze weave (buratto)

Border fragment with a scrolling vine and flower pattern in multi-colored embroidery on gauze weave.
Button
, 1801–50
Brass, gold plated

1931-59-133: Circular, flat button; ornamented with double shie...
Border
, 1815–25
Block-printed and flocked on handmade paper

Horizontal rectangle. Alternating acanthus rosettes and wreaths joined by acanthus scrolls and palmette motifs, in red flock on yellow field, with underlying foliage motifs in pale yellow.
Design for Two Pendants with Diamonds and Pearls
, 16th century
Pen and sepia on paper
Drawing

Two pendants, one beside the other, both square shaped. At left, volutes and diamonds. At right, pearls, a diamond in the center and heart forms. Both with rings on top.
Fragment
, early 18th century
silk, metallic thread Technique: embroidered

Fragment depicting a basket of flowers resting on the ground with a bird and flowers in the foreground.
Garrison House, York, Maine
Winslow Homer, American, 1836–1910, 1875
Brush and oil paint on canvas
Painting

Horizontal view of a dominant blocky frame house with a large brick chimney and overhanging second story perched on a hill at center background, a stone wall and attached board fence extending across the middle ground, and a boy and young woman holding hands and walking along path at lower left foreground.
Two Foliate Frieze Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Two foliate frieze designs featuring scrolling leaves (rinceaux), flowers, fleurons, and snakes. The plate is numbered.
Elevation of an Altar
, 1700–1730
Pen, brown ink, and graphite with brown, grayand pink wash on white laid paper.
Drawing

Vertical composition with the elevation of an altar. The altar has two pairs of embedded Corinthian columns, each with a triangular pediment and picture frame. The altar is framed by two pilasters and an arch.
Writing box
, ca. 1740
Wood

Rectangular wooden box with ivory(?) inlay decoration in center showing cornucopia with flowers and medallion; stylized foliate and floral inlaid ivory borders along edges of lid; inlaid ivory bands at edges and corners of box. Possibly for English export.
Mauseoleum Seen From a Colonnade
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

View from within an antique building, in which sculptural monuments are massed still more than in 1938-88-137, same hand.
Saint Catherine in Frankfurt am Main, Germany
Eugène Edouard Soulès, French, 1811–1876, 1833
Graphite, black crayon on light creamy paper
Drawing

View of the steeple. Medieval houses are in the right foreground. Written in the lower left corner: Ste. Catherine. Frankfurt. 1833.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with an arabesque ornament design featuring mythological figures and creatures, scrolling foliage, acanthus leaves, rosettes, masks, head of Apollo, flaming torches, and a framed vignette with putti. The plate is numbered.
View Overlooking San Francisco in the Valley of Patia, Colombia
Frederic Edwin Church, American, 1826–1900, August 13, 1853
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing an expansive view of valley of the Patia River in Colombia. Hills in foreground descend into river valley in middle distance, where the river--rendered in white gouache--is briefly visible at center. Rugged mountains hem in the valley at left and right, while tall, jagged mountains comprise horizon.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun wool, S-spun linen Technique: slit tapestry with supplementary weft wrapping

A roundel, in monochrome tapestry, depicting a figure in a skirt holding a shield on one hand and a long weapon on the other.  The roundel has a scalloped border.
Trimming
, 19th century
silk Technique: woven

Trimming fragment with a central wavy blue band between yellow leaf borders on a tan ground.
Design for a Candlestick
, 1820–1850
Graphite, brush and watercolor on paper
Drawing

At top, the stump of a burning candle in a vase, with a calyx around the bottom of the bottom. Below, a tray shaped like a handle and a circle. Acanthus decoration.
Design for a wall of a ballroom
Louis René Boquet, French, 1717 - 1814, 1770
Pen and ink, brush and watercolor, graphite on laid paper
Drawing

Four and half bays of the elevation of a wall of seven bays are shown. Steps are to lead downwards into the hall in the three central bays. Chandeliers with burning candles hang in each bay. The upper parts of the backs of the two lateral bays are undefined, but dados are at the bottom. Rich decoration in a kind of early rococo. The wall panels are to show alternatively statues standing on pedestals and flanked by candle brackets and trophies of attributes of Cupid under canopies in the upper parts, and console tables with candle brackets before mirrors. Under the top centers of the mirrors are medallions with a fleur-de-lys each. On top alternate escutcheons with monograms of Marie Antoinette and Louis with painted love scenes and putti on top of the mirrors. Paper margins.
Sketches of Plants, a Steamer, and a Champan from the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite, brush and oxidized white gouache on gray-green laid paper
Drawing

Sketches along the Magdalena River in Colombia, including views of mixed vegetation and river boats of various types. Scene of a tree with other foliage visible at upper left, while four illustrations of champan canoes and a steamboat are visible upper right. Five studies of palm fronds included throughout lower portion.
Stage Design, Group of Antique Buildings
Angelo Toselli, ca. 1765? – 1826, ca. 1800
Pen and ink on paper
Drawing

Horizontal rectangle. Group of pedestals, monuments, and buildings on hillside.
Design for a Panel with Two Mirrors
Gilles-Marie Oppenord, French, 1672–1742, before 1742
Pen and black ink, brush and water color over black chalk on paper
Drawing

The edge of the design of right half (2) is pasted over that of a left half (1).  Either design includes an upper oval and a lower oblong mirror.  (1) suggests horizontal, (2) vertical, lower mirrors.  Either design suggests a female mask in the top center of the upper mirror, (A) a second one in the bottom center of the upper mirror and a vase over the center of the bottom mirror.
Portrait of a Man
Pietro Gagliardi, Italian, 1809 - 1890, ca. 1830
Pen and ink on paper
Drawing

Seated man wearing top hat and glasses faces left, reading a book inscribed: Orlando Furioso (an Italian epic poem).
Petit Balçon et suivant, qui se voient a la Facade de la maison de lauteur
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Two details from a decorative wrought-iron balustrade for a balcony from Jean Lamour's house, ornamented with rococo motifs, acanthus leaves, foliage, c-scrolls, palmettes, and a rosette. The title is lettered above, the plate is numbered and signed.
Fragment
, 18th century
silk Technique: plain weave with discontinuous supplementary wefts

Serpentine lace ribbons with floral sprigs on blue ground.
Design for a Confessional, no. 4
Brother Isidore of the Billets Carmelites, ca. 1759
Engraving on paper
Print

An engraving showing the section, the elevation, and the plan of a Confessional. "Nouveau Livre" etc.  Bottom corners: "R…." "Sc…"; Along lower margin: "A Paris chez Crepy le Fils rue St. Jacques a S. Pierce"
Suruga Street (Suruga-cho) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

The main street of Suraga-Cho, which is the old name of the province where Mount Fuji is located, appears to lead right up to the base of the mountain. The traditional Japanese cloud divides the print into thirds. The lower half of the print shows buildings of the predecessor to the Mitsukoshi chain of department stores. This textile retail business was the first to sell goods at fixed prices. Among the street are customers and merchants busily going about their day.
Petits Trumeaux de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Fifth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates six sections of ornamental panelling between doors or windows in the Gallery of Apollo at the Louvre. Each panel is numbered. The panels are ornamented with grotesque and arabesque motifs, including strapwork, fleurons, rosettes, masks, acanthus leaves, shells, dolphins, fish, nets, mermen and mermaids, a crown, triton, cupids, and mythological figures. The plate is titled, signed, and numbered
Allegory of Painting
Thomas Christian Winck, German, 1738–1797, 1745
Etching and engraving on off-white laid paper
Print

Scene of Painting, personfied as a woman in costume from antiquity, surrounded by putti and attributes of the arts. The plate is signed.
Arabesque Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Etching and aquatint on laid paper
Print

Vertical arabesque ornament design featuring neoclassical motifs, a vase or basin with intertwined snakes as its base, flanked by winged mermaids with vases of flowers on their heads, and scrolling acanthus leaf, fleurons, rosettes and festoons of flowers and leaves with a roundel above with three classically dressed figures. Below, a snake handled lidded vase with the winged head of Apollo and a hanging festoon of leaves. The plate is numbered.
Satirical Print: The Suitor
, ca. 1790
Pen and ink, brush and watercolor on paper
Drawing

An old man with a staff standing at right looks through a lorgnon (monocle) at a young girl seated at left. She is accompanied by a sewing chaperone. A cat with a string lays on the floor.
Architectural Studies
Filippo Marchionni, Italian, 1732–1805, 1750–75
Charcoal, pen and ink, brush and gray watercolor on laid paper
Drawing

Top row: the head of an animal. Upper left part of a window or door frame. Center row: decoration of a pilaster, two upper part s of window or door frames. Center one shows a putto with a drapery festoon and a mask over the frame of the opening. Beside is a pilaster supporting the main entablature. A crouching animal is shown in profile turned toward left above that. Bottom row: a console with a pediment; a variation of the design.
A Ride on an Ocean Steed
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story from "Archibald the Cat," about a sailor and a young passenger.
Upper Togue Pond, Maine
Frederic Edwin Church, American, 1826–1900, probably 1878–1879
Graphite on white wove paper
Drawing

Landscape sketch showing a view of Upper Togue Pond near Mt. Katahdin in Maine, and its heavily wooded shores. The lake's placid surface comprises the foreground and middle distance, while a wooded bank with a large rock is shown at right. In the distance, the individual trees of the opposite shoreline blur and combine into a mass of vegetation. A wooded hill forms a gently sloping horizon in the background.
An escutcheon
Filippo Marchionni, Italian, 1732–1805, 1740–1800
Pen and ink on paper
Drawing

A symmetrical stucco scrollwork cartouche with crossed branches above. On verso: accounting figures and part of a sketch.
Chair
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash off-white laid paper
Drawing

View of a balloon-back armchair chair with carved apron.
Design for a Church Choir
, ca. 1780-1790
Pen and ink, inkwash, graphite on paper
drawing

The wall is divided into four panels and separated by pilasters. The panels on the right include trophies with religious attributes. Above two of the panels are lunettes. The left lunette contains musical instruments and the right lunette has religious implements.
Design for a Frieze
, 1840–75
Pen and ink, graphite on paper
Drawing

Horizontal rectangle. Right half of a design for a frieze is shown. At left are scrolls of an escutcheon with a sitting putto leaning upon them. At right is a trophy of arms, with two putti sitting upon it and a third putto flying. He and one of the stiting putti busy themselves with an ovoidal shield. The sitting one holds a palm branch in his other hand. The other sitting putto raises a wreath with his left hand.
Sixteen Designs for Consoles
Carlo Marchionni, Italian, 1702–1786, 1720–30
Pen and sepia ink, brush and gray watercolor on paper; verso: pen and ink, graphite
Drawing

Vertical rectangle with sixteen designs for consoles. All but one of the sketches with wash. The consoles are protruding from a frieze. Two are with masks, most with escutcheons, one with a tablet, three with motifs of architectural ornament. Verso: A tree, and in front of it the upper part of a column standing obliquely above a base, with a plummet hanging from its top. Above, a sketch probably showing how to measure the angle of the oblique angle and in graphite, an upright oblong drawn into the oblique column.
A Capuchin Saint
, 1710–1810
Pen and ink on paper
Drawing

Shown standing in his cell, holding a flower stem in his right hand and touching a skull with his left hand. Framing ink line
Sidewall
, 1825–40
Block-printed

Irregular pieced portion showing rose spray in staggered lines facing alternately to right and left. Printed in red and green on ungrounded unbleached paper. Parts "a" and "b" are joined together.
POELE formant encoignure et orné de figures en bas-reliefs
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a corner pedestal decorated with a frieze of figures (three women and a satyr) around a herm on a pedestal. The scene is framed by fluting and running patterns with festoons of flowers, and leaf motifs. A plan view and scale below. The plate is faintly signed.
Stage Design, Interior of Gothic Church
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic church, tombs fixed to wall, lantern hanging at left.
Design for a ewer
, ca. 1540
Black chalk, pen, ink, and bistre wash on paper
Drawing

Vertical rectangle. Like (not after) Androuet Ducerceau's etching, 1945-59-20 (19) with slight alterations. The owner wrote at right: "Rafe" and a cross.
Design for a Pair of Candelabra
Pietro Belli, Italian, 1780–1828, ca. 1820
Pen and ink, brush and gray watercolor, graphite on paper
Drawing

Vertical rectangle. The supporting female figures that appear in 1938-88-653 stand upon parts of fluted columns as pedestals. They carry in their raised hands, which face each other, trumpets to which rinceaux are fastened unilaterally. Three burning candles are on each stick. The girl at left carries in her lowered right hand a basket, the other in her left hand a pitcher. Framing line. Verso: a slight graphite sketch of 1938-88-5810, with shorter candles.
Plan d'un Pavillon de 9 toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan for a pavilion of 9 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Belt
, late 19th century
cotton, silk, shell, brass clasp

Black, white, pink and blue plaid ribbon with a clasp of silvered brass and a pink and white shell ornament.
Fragment
, 15th century
silk, metal wrapped linen Technique: woven

Large leaves and swan in coral and silver.
Band
, 13th century
Embroidery using silk on plain weave linen

Polychrome embroidery of scrillwork within rectangles.
Border
, ca. 1805
Block-printed on handmade paper

Horizontal rectangle. Border paper with two and one-half repeats of a floral spray. Plain bands of color along upper edge, and plain and figured bands along lower edge. Flowers printed in white with blue centers, and blue leaves, on black ground.
Terrapin Point in Winter, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, March 20, 1856
Graphite on light green paper
Drawing

Landscape sketch showing a view of a snow-covered Terrapin Point at Niagara Falls, New York. In the immediate foreground, the nearby rocks and terrain of Goat Island are blanketed in snow. At center left, a wooden bridge passes over a rivulet and leads to the point, where the cylindrical Terrapin Tower is prominently situated at center. Behind it, the U-shaped portion of Horseshoe Falls curves through the middle distance and into the background, where the steep and heavily wooded Canadian bank of the Niagara River is visible. Several houses are perched atop the embankment at center left. Light and mottled clouds hang in the sky above.
Tile
John Bowen, mid-18th century
Tin-enameled earthenware

Square tile with decoration in manganese on a white ground. Subject: a medallion enclosing a landscape at the shore, with two boats, figures rowing; large sponged tree at left. Symmetrical ornaments at the corners.
Woodland Stream
Frederic Edwin Church, American, 1826–1900, 1860–1880
Oil and graphite on tan paperboard
drawing

Landscape sketch showing a view of a rocky stream in a dense woodland scene, likely somewhere in New York or New England. In the foreground at center, water rushes between two semi-submerged boulders and becomes white with bubbles as it moves through a small rapid. Rocky, rugged banks hem in the stream at left and right. In the middle distance at center, the stream curves to the left and encounters a group of stones--one of which is brightly illuminated. Various trees are visible on the banks at left and right, while a loosely rendered brown hillside comprises the background.
Woman and Child (Virgin and Child?)
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Woman and Child (Virgin and Child?). She sits on a short column or parapet, with small stairs at right. Moon or sun with clouds in background.
Tureen and Stand
Royal Worcester, English, established 1751, ca. 1775
soft paste porcelain, vitreous enamel, gold
tureen and stand

Oval dish with underglaze stippling in imitation of Chinese powder blue glaze. Rocaille medallions, framed by gilded scrolls, and enclosing birds and butterflies. Handles in the form of twigs, with peach blossoms and leaves, one at each end of tray and one in domed center.
crown
, 19th century
Silver filigree

Four kidney-shaped panels, pierced with filigree work, rising from a plain diadem. From the panels rise four curved arches, meeting to support a ball and a cross mounted on a threaded pin.
Two Designs for Trophies
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, graphite on paper
Drawing

Vertical rectangle. Two designs for trophies. Below are the bases. In the center are panoplies. Upper design: two genii hold two of the shields, a putto points at one of them. Lower design: below in the center stands a captive, flanked by two genii holding sheets. Both designs are squared, the squares being laterally numbered up to 12.
Trimming
, 19th century
silk Technique: woven

Pink trimming fragment in a design of white stripes on a pink ground; picot edges.
Bowl
, 18th century
Glass

Glass with straight, slightly flared sides with two small spouts on opposite sides of rim; engraved decoration with scalloped motif at the top, alternating with hanging asterisks; lower section with vertical consecutive depressions.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper, hand-colored in watercolor
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) and feather motifs. The design to the right has front skirts and both have pockets. The plate is titled, numbered, and signed. The plate is hand-colored in green, red, yellow, purple, and blue watercolors.
Fragment of a border
, 1100–1420
wool Technique: slit tapestry

Bird motif.
Interior Wall Elevation with a Statue of the King Louis XIV
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

An interior wall elevation and sectional view with a standing statue of the king Louis XIV on a plinth with the French coat of arms above, supported by female figures and putti. Doors and columns flank the statue featuring ornately carved paneling and overdoors with military trophies. The cornice features scrolling leaf moldings and festoons of flowers and leaves. The plate is signed and numbered.
Thetis in the Workshop of Hephaestus; Thetis Showing the Armor to Achilles: Two Designs for Ceiling Panels in the Galeria d'Iliade, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and gray-brown wash over graphite on white laid paper
Drawing

In upper drawing, Vulcan shows shield made for Achilles to Thetis. In lower drawing, Thetis shows armor to Achilles, who sits in his tent beside dead Patroclus. Girl mourns; warriors observe from behind.
Senate Chamber, Parliament Building, Warsaw, Poland
Victor Louis, French, 1731 - 1802, ca. 1765
Pen and brown ink, brush and watercolor, black chalk on paper, lined
Drawing

Section of a colonnaded and domed building.  The entrance to the building is at the center, below the colonnade.  The columns have Corinthian capitals, behind them, a wall with large niches, occupied by large statues.  The dome is low and coffered.
Fragment
, 16th century
silk Technique: 4&1 satin patterned by plain weave (lampas)

Fragment of woven silk with offset repeating pattern of a carnation symmetrical carnation stem with paired confronted lions and birds. In green, yellow and white on a red ground.
Design for a Cartouche with Pastoral Motifs
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche decorated with a crook tied with a bow, a horn, a shepherd's hat, two lambs, a dog, and two baskets.
Pulpit elevation
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Pulpit elevation.
Fragment
, 17th century
silk, linen Technique: woven brocatelle

Red and yellow vase motif with large leaves.