biglam/cooper-hewitt-alt-text huggingface dataset:
The Catskill Escarpment at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, possibly 1860
Graphite and oxidized white gouache on gray-green wove paper; verso: graphite and oxidized white gouache
Drawing

Landscape sketch showing a view of the Catskill Escarpment at sunset, as seen from a point on or near the artist's property in Hudson, New York. Multiple topographic features are recognizable at center: Blackhead Mountain at left, Acra Point and Windham High Peak at right, and Cairo Round Top, the shorter prominence before the range at center. The rest of the range extends out of frame at left and right. Groups of wispy cirri and puffy cumulus clouds intermingle in the sky above as they are variously colored and illuminated by the light of the setting sun.

Verso: Landscape sketch showing a view of the sunset over the Catskills, as seen from the artist's property in Hudson, New York. The contour of the northern portion of the Catskill Escarpment forms an undulating horizon across the composition, with the summits of Acra Point and Windham High Peak visible at center. Long layers of mixed clouds hang just above the ridge, blocking the sun, which in turn sends rays of light emanating overhead. Above, several puffy clouds are brightly lit by these sunbeams.
Ascension of the Virgin
Giovanni Bernardino Azzolino, Italian, 1572 - 1645, early 17th century
Pen and brown ink on paper, lined
Drawing

Depiction of the Assumption of the Virgin. The female figure of the Virgin Mary stands at the bottom center while being greeting by an angel. To the left of her is a trail of figures and to the right of her a crowd of angels (?).  Above the Virgin at center is St. Thomas holding up the girdle given by Mary.  Throughout the top of the drawing are angels flying above them all. Framing lines.
Sampler
, 1700
silk embroidery, linen foundation Technique: tent, cross, eyelet, rococo and satin stitches on plain weave

Alphabet and numerals arranged as cross borders at top and bottom; central panel with initials, date and flowers arranged by compartments with geometric and floral design.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, 1898
Graphite on paper
Drawing

Two sketches of a magazine cover; Left, inscribed "McCLURES/ MAGAZINE/ JULY" at top with a female figure is holding a sword in her left hand and a scroll inscribed "INDEPENDENCE" in her right hand below; Right, a female figure is crowning a sculpture.
Border
, early 19th century
linen Technique: bobbin lace, Mechlin style

Straight border of Mechlin lace with a design of dots sprinkled in field above border of sprigs with one leaf and one bud above a row of pendant leaves.
Sidewall
, ca. 1785
Block-printed on handmade paper

Vertical rectangle of joined sheets of paper. Alternating motifs: peacock perched on left side of a running fountain, surrounded by flower garlands, sprays and drapery; and basket of flowers held by twisted ribbon and bow, with long trailing flower garland.
POELE formant encoignure et orné de figures en bas-reliefs
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor 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, and hand colored with watercolor.
LE BRANLE
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 12 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, a group of monkey figures in human costume, both men and women, many of the men wearing elaborate feathered hats. They dance the Branle, popular in the 18th century, linking hands and turning in a circle.
Mountains near Huingo, Mexico
Frederic Edwin Church, American, 1826–1900, January 8, 1885
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of mountains looking southwest from the Mexican railway depot known as Huingo, near the town of Araró on the southeastern corner of the Lago de Cuitzeo. In the foreground at left, a weeping willow and two other trees frame the view of a mountain ridge in the middle distance at center. This ridge features a prominent, sharp peak at center, highlighted in white gouache. A hill in front of the mountain descends to the right while bushes and other vegetation are visible before it.
Thatch Palm, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Brush and oil, graphite on paperboard
Drawing

Botanical sketch of a thatch palm in the dense Jamaican jungle, rendered with a high level of finish. Trees and other foliage backdrop the palm while, in the distance, the twilight sky glows in warm hues of orange, green, and yellow.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for vertical panels or pilasters decorated with, from left to right: architectural decoration with sphinxes; an Atlas supporting a trophy and a winged gorgon head; and an architectural decoration with mascaron and portrait. The plate is signed and numbered.
Abels Tomb on Mountain above Suq Wadi Barada, Syria
Frederic Edwin Church, American, 1826–1900, May 4, 1868
Graphite on gray-green wove paper
Drawing

Architectural sketch of the alleged tomb of the Biblical figure, Abel, located near the town of Suq Wadi Barada in Syria. A stone structure with a straw roof dominates composition at center, with a wide opening in the shape of a pointed arch. Flags, cloth, and other miscellanous items are shown within this opening. At lower left, the outline of a mountainous landscape is visible.
Small Serving Fork with Tines Skewering Fish
Charles Victor Gibert, French, ca. 1890
silver
fork

Two tined fork. Tines flaring outwards to pointed tip. At base of tines, reilief fish applied to tines on both obverse and reverse sides perpendicular to tines to appear skewered on tines. At neck, series of applied thin horizontal lines that mimic fishing line. Handle with fluted decoration, widening towards terminal. Terminal wrapped in acanthus leaf decoration and topped with ball finial.
Sampler
, 19th century
silk embroidery on linen foundation Technique: embroidered in withdrawn element work with satin and overcasting stitches on plain weave foundation

Seventy-one squares and bands of pattern as well as a deer and an alphabet in withdrawn element work in white.  The mouth and the eye of the deer are in colored silk.
Greeting Card with Forget-Me-Nots
Unknown, American or German, 1870–80
Embossed cut paper, printed in gilt and color lithograph on white wove paper
Greeting card

Inside an ornamented gilt frame is a sheet of lined note paper, with a basket of forget-me-nots, a paper heart and a girl, attached, upper left. On a double sheet of paper, folded in half, horizontally.
E. F. Miller in Parson's Garden, Columbus, Ohio
James Henry Moser, Canadian, 1854–1913, July 12, 1875
Graphite on paper
Drawing

Man sitting under an elm tree, center, by a high plank fence, right, and a picket fence, left. Garage beyond, right. Notes below identify man as E. F. Miller, artist, in Parson's garden.
Case
, mid-18th century
Leather, snake skin, copper wire

Tapered leather sheath, stiched down front; snake skin band at top. Rolled leather knob at pointed end; wrapped above end with copper wire. Twisted leather strap with copper wire bands attached by knotted tab at mouth.
Frieze
S.A. Maxwell & Co., 1900–12
Machine-printed

On pink ground with shading, roses in shades of yellow, cream with green foliage, mica, scrollwork, maroon ornament.
Nevers
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Sketch of a street scene. A wheel-barrow and two women by a doorway, houses with chimneys behind.
glove stretcher
, ca. 1880–1900
wood

Tartanware
Cravat end
, 18th century
linen Technique: bobbin lace, Brussels style

Cravat end of Brussels-style lace consisting of central floral motif surrounded by conventional palm and leaf forms.
Textile
, ca. 1870
cotton Technique: printed by engraved roller on plain weave and glazed

Columns made up of pink ribbon intertwined with leafy garland, on grey stippled ground.
Table cover
, 18th century
linen, silk Technique: embroidered on plain weave using satin, cross stitch, and stem stitch; bobbin lace attached; Hem-stitching at each end of fabric.

Rectangular linen cover having a plain center with an embroidered border on four sides in light and shades of orange. Embroidered design is comprised of two elements: a continuous leafy scroll with heart-like devices in each corner, and narrow guard on each side of isolated leaf or vine-like elements with elaborate finials at each corner. A continuous trim of bobbin lace in ivory and deep blue is sewn to the outer edge, and is in the form of a randa.
Sampler
Phebe Hill, American, 1797 - 1859, 1808
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Decorative framework with New Bedford Dec. 1808 at the top, Phebe Hill aged 11 years at the bottom, and floral sprigs at the sides. In the field, several alphabets, zigzag borders, and a verse: 
Our lives are ever on the wing
And death is ever nigh, 
The moment that our lives begin
We all begin to die
Cachepot with Flower Motif and Animal Mask Handles
, ca. 1765
faience
cachepot

On spreading foot an inverted bell-shaped, gadrooned body with six-lobed edge. Sides decorated with relief flowering branches. Two gaping animal masks form handles. Light buff clay with transparent glaze.
Stair at the Cluny, Paris
Whitney Warren Jr., American, 1864–1943, 1887
Brush and watercolor on light board
Drawing

Sketch of stair and balustrade in the Cluny Museum.
Sidewall
, 1885
Ingrain paper with applied mica flakes

Curvaceous leaf and flower forms rise from cornucopia and urn. Printed in tan, outlined in brown. Flitter paper with highlights of applied mica flakes.
Belted Tobacco Pouch
, ca. 1890
Silver
Matchsafe

Rectangular, with curved sides featuring raised, trompe l'oeil decoration simulating a soft, textured, belted, tobacco pouch, folded over with flap at front, as well as match and one dime tucked into belt; reverse decoration simulates pinched belt loop with belt running through it; remnant of red color on match tip. Upper part of pouch or lid hinged on left side. Striker on bottom.
Sidewall
, ca. 1840
Block-printed

Gray and yellow scrollwork with vases with jewelled decoration. Twisting leaves and ropes of flowers and fruit. Ornamented band at left. Printed on glazed blue ground.
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–1857
Block-printed paper

Statue of an infant, standing on vine-covered pedestal with a burgundy and lavender cameo in base. Putti is facing left, supporting a basket of vining flowers. Printed on white ground.
Wallpapers of Merit, Book No. 3
I. Lappin Wallpaper, 1917
Machine-printed paper
Sample book

Consists of 95 sidewalls and 73 borders. Gold embossed title on black paper cover. Papers consist of imitations of textures and woods, floral borders, stripes, large over-all patterns
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Floral bouquet set within scrolling foliate medallion. Medallions are connected by floral swags. Printed in white, red and green on pink ground.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, textured, liquid mica

Overall embossed mica. Foreground of bouquets of flowers connected by floral swags, scrolls, and beading at the bottom. Foreground color of metallic gold.  Landscape background of trees with a pond and cat tails. Background color of white and shades of gray.
Adoration of the Angels
Donato Creti, Italian, 1671–1749, ca. 1725
Pen and brown ink on laid cream paper
Drawing

Seated Virgin with the Child on her lap, being adored by four angels on the left. Joseph is seen on the right. Verso: a nude reclining child, asleep, and another figure. The sheet is oval-shaped.
The Misers
, ca. 1580–1620
Engraving with black ink on white paper
Print

Horizontal rectangle. Two misers are seen seated at a table counting their fortune. The figure of Death plunges an arrow in the bosom of the one.
vase
Rookwood Pottery, American, 1880 - 1967, 1900
Glazed earthenware

Elongated ovoid with slightly flaring neck. White on top, shading into grayish mauve toward bottom. Slip-painting of yellow lilies with pale green leaves.
Plate 3, from Recueil d'ouvrages curieux de mathématique et de mécanique, ou description du cabinet de Monsieur Grollier de Servière
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1732
Engraving on paper
Print

Designs for mechanical objects, to be carried out in metal or ivory. These are concentric geometrical shapes, the outer-most in each case being a sphere, with six holes facing front. Figure 11, in the center, is mounted on a tall spindle, with a trefoil or fleur-de-lys at the top of the sphere (similar to figure 10).
The Great Tower. Pig-Iron
Joseph Pennell, American, active England, 1857–1926, 1916
Lithograph on paper
Print

Steel frame work either side, with derricks above. Central foreground filled with trucks, horse-drawn carts and metal girders piled up.
Bandbox
Hannah Davis, 1784 – 1863, ca. 1855
Block-printed paper, wood support, newsprint lining

Yellow background, pink and deep bright pink flowers with touches of white, green leaves: carnations, butterflies, birds, roses in fairly random scattered pattern. Paper on exterior much faded: background appears to be beige with brown and green pattern. Just inside rim, well-preserved, brightly colored pieces. Printed paper label inside lid on yellow paper: "Warranted Nailed/Band Boxes/ Manufactured by/Hannah Davis/ East Jaffrey, NH"
Frieze
W.N. Peak, Brooklyn, New York, 1880 - 1900, 1905–1915
Machine-printed paper

Floral bouquet and swags printed on the bottom half. Across the top edge are bead swags and pendents. Printed in shades of yellow, green and blue.
Haemanthus Puniceus, Plate 88 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Haemanthus Puniceus" from A. C. Van Eeden's "Flora of Haarlem."
Bangle
, 19th century
Gold band, glass "gem"

Bangle, gold band, glass "gem" to repel the evil eye.
Trimmimg
, 16th–17th century
metallic, white silk, green silk Technique: bobbin lace, metallic

Band with triangular tab edge. Green silk with metal.
Fragment
, early 18th century
linen Technique: needle lace

Fragment of a band with a variety of leafy fronds and flowers.
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Loop attached to short stem, terminating in pear-shaped tassel, from which hang seven short stems with clusters of knots, including one suspended from center.
Sidewall - fragment
, ca. 1820–80

Sprigs of foliage shading from green to white.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, treillage in white composed of small horizontal stripes representing moire, with small clusters of purple and green flowers and leaves.
Vase
Tiffany & Company, American, established 1853, 1889
Silver, gold, copper, and mixed metals

A lamp with a bulbous top gradually descending into a narrow bottom. Finished in a marble like "mokume" technique in gold, copper and black colors. In 3 parts : (a) body, (f) base, and rod with light fixtures (b/e).
Waistcoat fragment
, ca. 1725–35
silk, metal, metallic yarns on silk Technique: embroidered on satin weave

Fragment of an embroidered waistcoat. Silk woven with pattern of alternating stripes and chevron. Richly embroidered with pattern of feathered stars within scalloped frames and interlacing bandwork. Thick border of scrolling leaves with acorns. Curving pocket flap with decorative appliquéd metal buttons.
Border
, 1860
Block-printed

Horizontal band of flower clusters in bright colors with green leaves. Below this a brown field. The white ground at top has a brown curving line which indicates that the edge is to be cut in a scallop or swag design.
Beaker
, 1662–1722
Painted and glazed porcelain

Famille verte footed beaker with two dolphin-form handles. Painted florals with birds; painted band of ornament inside the rim.
Rear View of the First Gilded Carriage
Bernard Picart, 1673–1733, 1713
Engraving in black ink on paper
Print

Vertical rectangle. The rear view with a scale, title above, and below, a description and design for variations on the sides and front of the carriage. The carriage was designed for the entrance of His Excellency the Duke d'Ossuna into Utrecht, 1713. On the roof, three putti support a crown, an urn at either side. Below, in a curtained opening, a seated woman, a lion and cornucopia at her feet.
Washbasin, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778, 1762
Etching with engraving on cream paper
Bound print

1956-15-1-3: Image shows a large sarcaphagus decorated with hea...;     1956-15-1-4: Washbasin with fluted and curved legs with inscrip...
Two of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Two of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
L'Ordonnance
Carl Ernst Forberg, German, 1844 - 1915, ca. 1880
Etching in dark brown ink on white satin
Print

An officer, mounted on his steed, rides into the midst of wounded or resting soldiers. At the right, one is seen standing by his horse, his back turned toward the spectator.
Cruet
, ca. 1810
glass
cruet

Pear-shaped body cut with drapery swags and flat vertical fluting; flat circular foot; mushroom-shaped stopper with radial cutting. One of set of seven bottles.
Letter from John Nash to Frederick Crace regarding Brighton Pavilion
John Nash, 1752 – 1835, 1818
Pen and brown ink on off-white laid paper
Document

Letter; several lines of text. Transcription of the letter: Sir/ I am directed to inspect the/ designs you are painting for/Brighton. Iwill thank you/ to bring all the drawings here/ at 9 tomorrow morning/ particularly of the Chimney/ pieces & such as relates to the/ architectural or constructive/ parts of the Room and I /will thank you to be exactly at/ 9 as I am engaged at 10./ I [?]/ yours [?] [?]/ John Nash In lower left: [name of city?]/ May 19 1818; near bottom center: To Crace Esq.
Sketchbook Page: Caricature with Cipher
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of face with large nose and ears, and exaggerated eyebrows, center. Numbers 1 to 77 in background, with letters under each. 
Verso: Sketch of a portrait, likely a copy after Velázquez.
Government, Cartoon for Mosaic in Wisconsin State Capitol Rotunda
Kenyon Cox, American, 1856–1919, 1912
Charcoal on tan paper
Drawing

Allegorical figure representing Government, his left hand resting upon a great sword. Roundel outline around figure.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern formed by foliate scrolls. The scrolls at the intersections are filled in with light blue, which alterante with light blue wreaths in adjoining voids. Printed on tan ground.
Fragment
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Fragment, probably a sleeve ruffle, has elaborate blossoms, leaves, stepped geometric shapes, and zigzags.
Border
, 1795–1815
Block printed on handmade paper

Band of Greek key motif interspersed with stylized floral motifs. Printed in black, white, green and orange.
Sidewall
, ca. 1700
Leather, flocked, stamped, gilded

Fragment of leather wallcovering; tooled and stamped gilded leaves and scrolls reserved on dark green flock ground.
Fork with Agate Handle
, ca. 1700–25
steel, silver, agate
fork

Two tined fork, curved shoulders, baluster neck. Silver ferrule engraved, agate handle, metal pin on top of handle.
Two Tattooed Actors (Ichickawa Ichiyoshi and Bando Hikosaburo) Bathing Under a Waterfall
Toyokuni Kunisada, Japan, 1768–1825, 1862
Woodcut on paper
Print

The image depicts two men crouching under waterfalls. The man in front crosses his arms and wears blue with red flowers; the man behind holds his hands up defending his face and wears blue with red zigzags. There are banners in Japanese on the upper left, upper right, and lower left of the image.
Teapot
Ann Bateman, English, 1748 - 1813, 1798
silver, wood
teapot

Silver teapot engraved with a foliate and spiral patterned band at the shoulder, above a tapering reeded base; curved spout; curved wooden handle; slightly domed lid with smooth wooden urn-shaped finial, with silver terminus and serrated pineapple leaf surround at base.
Vase
Christopher Dresser, Scottish, 1834–1904, 1880–82
Glazed earthenware, overglaze lustre

Red earthenware body. Elongated ovoid shape, flared foot, flared "collar" neck. Body applied with molded iris with purple glaze, and white water lilies, both with foliage emerging from stylized water lines. Body glazed in striated brown, green and white, with surface iridescence. Interior glazed.
Fragment
, late 17th–early 18th century
silk Technique: 5-harness satin damask

Light orange damask in a continuous pattern of two connected bracketed leaf-like forms with stems that spring with floral vines and leaves. Leaf forms filled with intricate lattice patterns.
Footed dish
, late 18th–early 19th century
treen

The shallow body of the dish is turned with a curving profile extending outward toward a rounded lip. A spool-shaped stem is joined to a separately fabricated foot stained black-brown. A screw has been inserted through base and into bowl of dish.
Vase
George E. Ohr, American, 1857–1918, 1895–1900
Glazed earthenware

Thrown thin-walled body, flat base with spreading circular foot.  Curved profile body with angled shoulder turned inward and deeply ruffled at lip.  Glazed exterior with deep blue, shading to green-blue at shoulder and lip.  Interior glazed deep yellow-green.
Textile
, 1830s
cotton Technique: red printed by engraved roller; blue, brown and yellow printed by relief roller on plain weave

Predominantly red and blue pillar print with curling acanthus leaf capitals, flowers and birds in a half-drop repeat.
Cover
Scuola d'Industrie Italiane, New York, NY, USA, ca. 1910
linen Technique: cutwork with embroidery

Small cover with broad sawtooth edges decorated with white linen embroidery, tassels and fringe.
Vase
Tiffany Glass and Decorating Company, American, 1892 - 1900, ca. 1903
mold-blown favrile glass
Vase

Tall vase in iridescent red orange, milli-flore (green leaves) motif.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. green ground with rust color motif
b. rust color ground with green motif
Lamp shade
Tiffany & Company, American, established 1853, 1907
Favrile glass

1968-55-3-a: (a) Flower bud form glass shade for sconce. Over-a...;     1968-55-3-b: (a) Flower bud form glass shade for sconce. Over-a...
Embroidered slip
, 17th century
silk embroidery on linen foundation Technique: embroidered in counted stitches

Embroidered red tulip with a green stem and leaves has a butterfly on one leaf and a ladybug on another. Cut away from a larger canvas. Intended for applique.
Necklace Designs
, 1815–30
Graphite on paper
Drawing

Two sketches for necklaces. Top: plants alternate with plant motifs in oblongs. Center left: rough sketch, festoons and pendants. Bottom: pairs of festoons are connected by blossoms.
Design for a Window Opening
John La Farge, American, 1835–1910, 1890–1900
Graphite and brown watercolor on paper
Drawing

A single arched opening, with roundels in the spandrels and classical capitols, in the manner of the architecture of the Libreria Vecchia, in Venice, by J. Sansovino.