biglam/cooper-hewitt-alt-text huggingface dataset:
St. Peter and St. Agatha
Pietro Novelli, Italian, 1603 - 1647, 1603–47
Pen and brown ink, red chalk, brush and gray wash on laid paper
Drawing

Two figures, a man on the left looking at a woman on the right whose mouth is open, as putti fly overhead.
Galerie métallique des grands hommes français (Great Men of France)
Louis Michel Petit, French, 1790 - 1844, 1819
Cast bronze
Medal

Bust of Jean de La Bruyère (1645 -1696).
Candlestick; portrait
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Candlestick; portrait.
Chimborazo and Carihuairazo from Riobamba, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of the volcanoes Chimborazo and Carihuairazo from the city of Riobamba, Ecuador. In the foreground, a house is nestled among green vegetation at right while other foliage and terrain is loosely rendered at left. The middle distance is an indistinct expanse of brown terrain. In the background at center, the snow-capped Chimborazo looms over the landscape as its rugged peak is crowned in a bank of clouds. In the distance at right, the similarly snow-capped volcano known as Carihuairazo is prominently visible. The sky above is a rich, saturated shade of greenish blue.
Button
, 1880–1900
Pearl shell

On card 33. 
Four buttons. a: two-holed button of smoked pearl; b: two-holed button of smoked and char pearl; c: button of smoked pearl with brass shank; d: two-holed button of char pearl (funnel-shaped) ornamented in conventionalized lilies and lines.
Alcove with Figures
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

An alcove with a bed topped with feather finials and figures standing around the bed. The alcove is framed by a carved balustrade, fluted pilasters, vases with flowers, and topped with carved paneling and moldings along the cornice with a central roundel medallion profile portrait, flanked by caryatids holding foliate branches and a festoon of leaves, fruit and flowers. The plate is signed, numbered and includes a scale below.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies/ sketches on a single plate. In the foreground a woman seated with a standing woman next to her, and foliage. In the background there are two figures and a bench, one seated and the other standing with baskets. The plate is signed and numbered.
Study of Red Poinsettias
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, graphite on gray paper
Drawing

Horizontal sheet depicting two studies of poinsettias.
Band
, 19th century
linen Technique: bobbin lace (Buckingham style)

Lace band has a design in three rows showing small-scale stars and spoked wheels shapes.
Panel
Gaspard Grégoire, French, 1751–1846, early 19th century
silk Technique: warp-dyed, cut supplementary warp pile (velvet) in a 3/1 twill foundation

Small panel of cut silk velvet printed with a portrait in profile of Napoleon I within a dark blue circle surrounded by orange rays against a white ground. Below center medallion in a dark blue band appears "Napoleon Le Grand." At top is a triangle in dark blue with the initial "G," surmounted by seven stars.
Living Room Furniture, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

Page divided into two registers by horizontal line near bottom of page. Center, design for two chairs and lamp.
Mme Guimard's Bedroom, Hôtel Guimard, 122 rue Mozart, Paris XVI
Hector Guimard, French, 1867–1942, ca. 1909
Sepia or carbon print on white wove paper, lined on brown wove paper
Photograph

Photograph of Madame Guimard's bedroom in Hector Guimard's house at 22 rue Mozart. Image depicts bed at left, two chairs on right, and image of female nude behind chairs.
Fringe
, 18th century
silk Technique: woven

Red and yellow fringe with a checkboard heading and a skirt of yellow loops forming a scalloped edge; each three loops supporting a red silk ball.
Fragment
, 17th century
silk, cotton, metallic Technique: plain weave weave plus plain weave

Symmetrical plant forms in white and shiny green.
Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife, Christina Muller
Aegidius Sadeler II, Flemish, 1570 - 1629, 1600
Engraving on laid paper
Print

Horizontal rectangle. Spranger seated in foreground left. His wife's portrait in a medallion at right. Both figures are surrounded by angels and allegorical representations of death.
Fragment
, mid- 18th century
silk, wool Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragment of brocaded silk with a symmetrical  scene of a man holding an parasol over a woman, flanking a tree with large fruits. In pale green, blue, orange, pink and off-white on a green ground.
Baptism
, ca. 1840
Wood engraving on paper
Print

Two women, the father and the priest around the baptismal font.
Fragment
, 16th century
linen Technique: grid of withdrawn element work with needle lace (reticella style)

Insertion of reticella with a wide central band bordered by two narrow bands in an elaborate and closely worked geometric design.
Design for Metal Frame
Johann Alois Seethaler, 1796 – 1835, 1825–35
Pen and ink, brush and watercolor
Drawing

Rosette and palm-leaf motifs in the center of each side. The cresting is composed of facing swans that terminate in vegetal arabesques, flanking an urn of grapes. The motif of the base is in the center, leaf arabesques, with seated amorini kissing swans at the corner.
Design for a Playing Card: Valet (or Jack) of Diamonds
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

An armored knight is shown standing. The shield with a red cross is at his right arm.
Bedspread
, ca. 1825
linen Technique: quilted

Bedspread quilted in a design of flowers and scrolls surrounding a central medallion with an eagle, cornucopia and a basket of flowers.
Shawl
, 18th century
wool Technique: embroidered

Cashmere shawl with embroidery in shades of yellow, orange, green and brown. A tan ground in a design of large floral ornament set in a panel surrounded by borders.
Ojime
, 19th century
bronze

1952-164-35: Five sections, with an elephant and three flying b...;     1952-164-36: Head of a monkey, with gold eyes.50;     1952-164-37-a,b: Figure of a street vendor, wearing a sambaso hat a...
Fragment
A .G. Jennings & Sons, American, ca. 1884
silk Technique: machine made lace

Net ground with a floral pattern.
Design for a Border
Edward B. Edwards, American, 1873–1948, ca. 1900
Pen and black ink, brush and black wash, over graphite on paper
Drawing

A border design of stylized leaves and flowers on interlacing vines. Leaf motif in central area.
Dish, from the Service des Officiers at Château de Bizy
Sèvres Porcelain Manufactory, French, established 1756, 1846
hard paste porcelain, vitreous enamel
dish

Circular; flat bottom, curved sides, concave marly. Decorated in centre of bottom with crowned monogram of Louis Phillipe
Design for a Bracelet
, 1800–1825
Pen and brown ink, gray wash, green, yellow watercolor, traces of graphite Support: off-white wove paper
Drawing

Horizontal rectangle. Eight square green diamonds are framed by a kind of escutcheon, composed of two standing volutes with rows of beads, with, in the center above and below, a round diamond. Closely joined.
Study of a Trophy, with a Landscape Beyond
Unknown, mid- 16th century
Pen and brown ink, brush and brown wash on white laid paper
Drawing

A trophy of arms hanging from a quiver crossed with a bow; upon them stands a displayed eagle; below is a bow-knot and a tassel; beside at left is the sketch of a tree; verso, at right, sketch of the face of a youngster, shown from the front; below: sketch of an escutcheon with a mask on top and a festoon below. (RB '45)
The Third Wise Virgin
Martin Schongauer, German, 1450–1491, ca. 1490
Engraving on off-white laid paper
Print

Vertical rectangle. The Virgin is standing almost in a full side view towards right on a grass-covered hill. She holds in her right hand the lamp; with her left she lifts her dress.
Head piece
, 19th–20th century
linen Technique: Brussels-style bobbin lace

Head piece in pattern of rose and orange blossoms. Brussels-style but probably made in Devonshire, England.
Portrait
, ca. 1850
silk Technique: warp-dyed velvet

Portrait of "Innocence" by Greuze in Gregoire velvet technique executed by H. Erquez. "Innocence" is depicted with a lamb under her arm.
Fountain with Two Eagles
, 1750–1800
Pen and brown ink, brown wash Support: white laid paper
Drawing

Vertical format; the water is pouring from a central vase and two eagle, standing upon a twofold base, the upper with volutes and garlands springing from a mask, the lower oval, with flutes and rosettes; the shadow is indicated. (RB '45)
Textile
, late 15th century
silk, metallic yarns Technique: supplementary warp forming raised cut pile (velvet) in a 4&1 satin foundation, with discontinuous supplementary wefts (brocaded)

Large-scale pomegranate design within an ogival framework, in red velvet with two pile heights, gold brocading, and some gold in raised loops. May have been part of a chasuble.
Sewing sample
, late 19th century
Cotton

Small square of net, mended in center, in six-sided form, hemmed.
Judy
, late 19th century
Painted wood, cotton, other materials
Puppet

Red-faced long-nosed woman dressed in lace-edged cap, apron, coat and plaid dress.
Ribbon
, late 18th–early 19th century
silk Technique: printed

Small fragment of cream-colored fancy satin ribbon with a printed design of two griffins holding swags of drapery in their mouths. Above them is a round medallion enclosing a nymph and cupid. At top, scrolling acanthus draperies and a mascaron. Printed in shades of brown and blue.
Marius a Minturnes, plate 21 from the HIstoire Ancienne
Honore Daumier, French, 1808 – 1879, 1842
hand colored lithograph on paper
Print

Vertical rectangle. Swamp plants and frog pond with Marius, submerged to shoulders, hiding from group of soldiers climbing hill in background.
Textile
, 19th century
cotton Technique: plain weave

Small sampler consisting of horizontal stripes in various designs. Fringes on both ends.
Plaque
, possibly late 17th century
wood, carved

Woman attended by putti in a chariot drawn by a sea-beast; coiled tails of other sea-beasts. Carved in low relief.
Fragment
, 18th century
linen Technique: bobbin lace (Mechlin-style)

Fragment of Mechlin lace with scrolling bands and rococo curves set off areas in which appear conventionalized floral sprays. Variety of "fond de neige" ground. Scalloped edge.
Allegorical Figure Depicting Putti as "Europe" and "America"
Ludwigsburg Pottery & Porcelain Factory, German, 1758 - 1824, late 18th–mid- 19th century
hard paste porcelain, vitreous enamel, gold
figure

Europe, seated on rocky pedestal, holding sceptre, and with helmet at its feet. America (traces of dark grey on body) wearing feather skirt and headdress, seated on green striped alligator. Incised: No 4. Similar to 1960-1-40B and its variants. Forming a set with 1960-1-47.
Textile
, 6th–8th century
wool Technique: plain compound weft twill

Very incomplete and indistinct design based on geometric forms, in yellow-tan, red and green. No selvage present. The warp is yellow-tan wool, and the wefts are yellow-tan, red, and green wool. The weave throughout is a plain compound weft twill formed by the wefts passing over three warps and under one. The wefts are used two at a time, yellow-tan and green, and yellow-tan and red, but only one color appears on the face of the textile at one time.
Scenes and figures in the career of Henri IV
F. Pieters, ca. 1825
cotton Technique: printed on plain weave
Textile

Red print on a white ground. Background solidly covered with dome-like motif with diagonal line of hatching. Design includes six vignettes: 1) combat between warriors and horsemen; 2) conference between queen and knight; 3) parting from companion or wife; 4) conference near ship and sea; 5) triumphal entry into city; 6) group of men in tent in front of a castle.
Tree Fern, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Oil and graphite on off-white paperboard
Drawing

Landscape and botanical sketch of a palm tree in the lush mountains of Jamaica. Dominating the composition at center, the tree has a relatively thick, scaly trunk and a roughly spherical canopy of fronds that emanate in all directions. The lower fronds are dead and wilted while the trunk appears covered in a fibrous hair or fuzz. Several plants grow around the base of the tree in the foreground, including red and white flowers. In the background, a rolling and densely wooded hillside descends to the right. Above at upper right, dense, rosy, and cream colored clouds break apart, revealing a deep, rich blue sky.
VIe CAHIER D’ARABESQUES
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Album

Album of horizontal designs for ornamental friezes with repeating patterns featuring arabesque motifs. Each plate has four designs and is numbered and signed.
Plan and Elevation for Triangular Corner Cabinet
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Elevation (upper segment of sheet): cabinet front with molded top and glass door panel; 4 inside shelves hold pieces of china; raised atop 3 tapering legs.  Plan (bottom segment of sheet): triangular silhouette of cabinet with canted corners.
Album of Prints: First Series of Vases by Different Masters, Designed by Louis Doré and Engraved by F. Brard
Louis Doré, French, active 18th century, 1750-1800
Album

Album of prints containing the six plates of the First Series of Vases by Different Masters, designed by L[ouis] Doré and F. Brard. The plates are signed and numbered.
Nouvelles CHEMINÉES a la Mode
François II de Poilly, French, 1666 – 1741, 1712
Print

An album with an incomplete series of chimney pieces (fireplaces, mantels, and overmantels) and paneling (boiseries) designs illustrated as wall elevations with scales below. The plates are numbered. The same series with a dated title page is bound in the album 1921-6-385.
Le Bassin d'Encelade (The Fountain of Enceladus), Versailles
Joseph Mulder, Dutch, 1659/60 – 1710, 1682
Etching
Print

Pool with a statue of Enceladus amidst pile of rocks and churning water at the center of a bosquet defined by a trellis with arched portals.  A central  column of water shoots upward.
Border
, late 18th century
cotton Technique: mordant painted and dyed (chintz) plain weave

Long and narrow border. Scrolling vine with red and white flowers and blue leaves.
SECOND LIVRE Contenant DIFFERENS DESSEINS de PENDULES Inventés par G.M. Oppenort Architect du Roi et Gravés par Huquier
Gilles-Marie Oppenord, French, 1672–1742, 1738
Print

An album of mantel and cartel clock designs featuring rococo motifs and ornament from a series of six plates. The plates signed and numbered.
Mug
, 18th–mid-19th century
earthenware

"my mother"
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

A stylized floral motif forming a quatrefoil-like design. This is centered between four ovoid foliate wreaths. Printed in brown and green on light yellow ground.
Band
, 17th century
linen Technique: grid of laid cords with needle lace, reticella style; edge of punto in aria

Deep band with a regular lattice - each square contains a small flower within a circle with leaf-like forms extending to the edges. This lattice supports oval tabs with a small flower within a circle and half-circles in each corner. Each tab is filled with the same leaf-like forms and is finished with a narrow edging of small points.
Fountain in bronze
Elihu Vedder, American, 1836 – 1923, ca. 1890
photographic print on heavy glossy paper
Photograph

Vertical rectangle. The nude figure of a boy, standing, faces the viewer. The arms are upraised. He carries a basin on his head and stands on a pedestal in the form of a vessel with a grotesque head.
Vase
Rookwood Pottery, American, 1880 - 1967, 1904
earthenware, glaze
Vase

A dark blue and black vase with a larger opening, decorated with one peacock feather on the front.

From ledger: Elongated ovoid vase tapering to short neck which tapers slightly inward. Green around top shading to and predominated by blue to deep blue at base. Two peacock feathers painted under glaze in black, amber, blue-green.
paper lables on bottom: "Rockwood Pottery / Cincinnati USA / 1904 / Louisiana Purchase / Exposition St Louis" and "#359 .0 [upsidedown 5]
Fragment
, mid–late 18th century
linen warp, cotton weft Technique: block printed and painted on plain weave (mordants for two reds and black block-printed; yellow and blue applied by brush)

Diamond lattice of vines enclosing floral sprigs on a picottage background.
Dado
, 1800–1815
Block-printed on handmade paper

Panel dado with acanthus rinceau around central diamond motif, with two columns on either side, printed in white, yellows and greens on green ground.

H# 210 ?, 312 ?
Plate, from Emblemata nobilitati et vulgo scitu digna (Emblems worth knowing noble and common men)
Theodor de Bry, Flemish, 1528 – 1598, 1592–1593
Engraving on laid paper
Print

Vertical rectangle showing a densely ornamented frame of scrolling plants, monkeys and fantastic animals. Blank cartouches at top and bottom. At center, a blank armorial shield cartouche with swags and a helmet.
Textile
, 17th century
silk Technique: damassse (7&1 satin and a weft oriented 4 shaft float weave in which warps are paired)

Vertically symmetrical pattern of offset plant motifs set in an ogee grid. Background is reddish-purple, and pattern is dull blue.
Sampler
, 18th century
linen, silk Technique: embroidery including needle knotting called tenerife

Square sampler comprised of rectangular and square compartments containing circular motifs. Some circles are embellished with blue, green, dark yellow or red thread.
Window shade
, 1875–1900
Machine-printed

Near bottom edge, single wide band of green. Inside this band are squares containing motifs printed in gold. In the center is a large anthemia-like motif.  A band of floral finials above, with a band of pendents, swags and tassels below. Printed on deep brown ground.
Textile
, 19th century
cotton Technique: stenciled resist on plain weave (katazome)

Two columns of offset hexagons with flower centers. Surrounding hexagons are curling leaves and flowers forming cross shapes. Design is primarily comprised of white dots in reserve and red accents.
Sidewall
, 1855–60
Block printed on satin ground

The central motif is a bouquet of roses surrounded by smaller bouquets of cosmos, roses and asters. In brilliant colors on a light green, polished or satin ground strewn with gray foliage.
Textile
, 1750–1800
cotton Technique: mordants for black, 2 reds, 2 purples, and brown applied by pen or brush; madder dyed; blue painted over resist; yellow painted by brush, (chintz) on plain weave

Curving vines with alternately symmetrical bouquets. Isolated motifs of animals, birds and plants.
Box
, early 19th century
Tôle (painted tin)

Rectangular box with hinged cover domed from front to back. Ring bail handle on top of cover and hasp fastener, with staple broken off.  Box is painted black with floral decoration on front and ends of vermillion fruit-like flowers, with white and alizarin markings, and with serrated green leaves and leaf-fronds. Cover is decorated on front and ends with a border of lapped and recumbent "S"s in yellow and similar band with dots frames the top. Spiral arrangement of leaf-fronds in yellow around handle.
Frieze
, ca. 1900
Oatmeal paper

Large-scale pink and white poppy flowers printed on top half of brown "oatmeal" or "ingrain" paper.
Sidewall - samples
Robert Graves Co., New York, New York, 1890–1920
Machine-printed

Repeating motif of lighted torch in wreath, tied with ribbon. Printed in tan on lighter tan weave-like background.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

A repeating design of geometric medallions interconnected by jewel-like swags on a cream ground with a pale gray design of flowers in a vase-like formation in front of a fence which intersperses the darker design of medallions, between complementary borders. Printed in cream, gray, tan and bronze.
Milk Jug, from a Breakfast Service (Pot à Lait; Déjeuner Mosaïque Florentine)
Sèvres Porcelain Manufactory, French, established 1756, 1813
hard paste porcelain, vitreous enamel, gold
milk jug

Vase-shaped jug with broad everted lip and tall loop handle. Decorated en suite with set: five large roundels with birds, four with butterflies. Lip, handle and foot gilded. Shell motif painted below lip.
Design for a Carpet, Music Room
Frederick Crace, English, 1779–1859, 1817–22
Watercolor on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. A design consisting of an allover pattern of fantastic birds, the intervals filled with large and small irregularly-shaped dots. Yellow figures on a light blue ground.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sidewall
, 1830–40
Block-printed

Landscape with house and chapel, ducks swimming in green irisé pond. Printed in shades of brown, blue, green, red and white.
This object has been cut and pasted together and contains more than one repeat.
Mrs. Holt's Shop Card
A.M. Ireland, 1720-1794
Etching on paper
Print

The upper part depicts a harbor scene. In the center stands a man talking to a woman, seated under a tree at left. Surrounded by a frame-like design with a coat-of-arms and crown in upper part.
Kusatsu, A Station Famous for its Rice Cakes, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Large teahouse with travelers eating rice cakes which are being made under the veranda. Lower half, two litters, one open and one closed, both carried by coolies.
Sidewall - sample
, 1906–07
Machine-printed

Three roses with foliage on winding, thorny stems that form a vertical loose stripe. The shiny background has a moire texture. Printed in shades of green.
Stole
, 19th century
agave (plant fiber) Technique: knitting; each half made separately and joined together in the middle

Shaped stole. Long and narrow with oval shapes at each end.
"Le Paon se plaignant à Junon" from La Fontaine's Fables
, ca. 1770–1800
Black ink on white paper
Engraving

Horizontal rectangle. Scene from La Fontaine's fable, showing Juno seated on a bank of clouds, hand out-stretched toward a peacock.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Floral lattice with vining & bouquets. Lag-and-feather geometric shapes in background with fleuron lights. White ground. Printed in pinks, greens, and light blue. 
Printed in selvedge: "Standard Papers"
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

"Moresque" frieze with horizontally repeating pattern of alternating spade-like medallions formed by c and s scrolls and stylized foliate motifs. Top edge is bordered by vertical, comb-like striations and scalloped c and s scrolls. Bottom edge is bordered by green lines and patterns of dots and trefoils. Pattern is machine-printed in browns, greens, tans and dark red on a tan background.
Sash or towel
, late 19th century
cotton, silk, metal thread Technique: embroidered

Sash or towel of white hand-woven cotton, narrow width (9 1/16 in. from selvage to selvage). Ends embroidered in silk design of double row of stylized jars of flowers, alternating with tall trees. Colors: rose, green, and yellow and blue, flat gold.
Decorative panel for July Festival
Félix Duban, French, 1797 - 1870, 1835
watercolor, gouache, black ink, wash, graphite on tan paper mounted on off-white laid paper
Drawing

Design for a panel ornamented with an abstract vine motif and flowers in pink, blue, green, and yellow on a green ground.