biglam/cooper-hewitt-alt-text huggingface dataset:
The Presentation in the Temple. from the Life of the Virgin series
Albrecht Dürer, German, 1471–1528, ca. 1506
Woodcut on laid paper
Print

Vertical rectangle. The Virgin kneels in the foreground, St. Joseph standing beside her. The Child is in the arms of the Priest, right. Spectators in background.
Pair of Plates
Sèvres Porcelain Manufactory, French, established 1756, 1758
soft paste porcelain, vitreous enamel, gold
plates

Marly divided into six parts with molded relief scrollwork, and three oval reserves with florals are outlined in gilding, against a green ground. At center, hand-painted birds and trees.
Brisé fan
, ca. 1790
Carved and pierced ivory sticks, silk ribbon, metal washer at the rivet

Brisé fan. Sticks of lace-carved and pierced ivory with monogram at the center; silk connecting ribbon; metal washer at the rivet; guards carved in high-relief with landscape scenes.
Fragment
, early 19th century
linen Technique: bobbin lace

Pattern of small plain lozenges and large decorated lozenges.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming raised pile in plain weav foundation (velvet) with supplementary wefts.

Pattern of leaves in a diamond grid in tan velvet.
Band
, 19th century
linen Technique: bobbin made continuous tape with bars added

Scrolling tape set between borders with picots.
Sketch for a Wall Panel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite, brush and brown watercolor on paper
Drawing

Above, rectangular composition with reclining woman, one arm stretched to a book held by a putto. Oval, center. Notes and symbols below.
Sketch of Figure with Drapery
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Man in drapery about his waist and thighs; left arm stretched upwards, and right arm about a tree or column.
Portrait of Andreas Cruesen, Archbishop of Mechlin
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and van dyck beard; his short cape is shown in its entirety. Below, his escutcheon and motto, and inscription.
Fragment
, 19th century
silk, metallic Technique: woven

Peacocks and peonies in red and gold.
Design for Cooper Monument
Stanford White, American, 1853 - 1906, ca. 1900
Graphite on paper
Drawing

Sketch for Cooper monument. Aedicule, crowned by a pediment. Four Corinthian columns resting on a pedestal, of which the front is decorated with a scene in relief. Four steps at base. Scheme abandoned for Cooper monument, but later used for Phillips Brooks monument in Boston. Reverse rough sketch for a monument consisting of two sections and a pyramidal roof, obliquely shown.
Panel
, late 17th century
silk, linen, metal, paper Technique: embroidery

Long panel, solidly worked with silk and metal embroidery on a dark green linen ground, backed with white linen.  The background of the embroidery is a lattice pattern with strips of paper under the silk to give a relief effect.  The Chinoiserie-style motifs include flowers, birds, architectural elements and figures.
Textile
, mid-18th century
silk Technique: 5-harness satin damask

Full width filled with a single vertical repeat of symmetrical bouquet of delicate spreading flowers in continuous ogival flowery framework. Broadcloth and warp twill selvages with narrow dark green and white stripes.
Textile
, 1890–99
silk Technique: satin weave (?)

Medium scale close-set repeat of maple leaves with drooping flowers in dark blue satin and plain weave on rust ribbed ground. Dark blue warps and rust wefts.
Job Conversing with his Friends
Hans Sebald Beham, German, 1500–1550, 1547
Engraving on laid paper
print

Horizontal rectangle. Five figures in a ruined interior. Four men are seated on the ground, Job at the extreme left; a woman stands behind them.
Sketch for "Night"
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on paper
Drawing

Nude female figure shown seated from behind, with parts of the right leg visible. Verso: horizontally, the elevation of a window in a Gothic church.
Fragment
, 5th–6th century
wool Technique: taquete (plain weave, complementary wefts and inner warps)

Fragment with ground divided into octagons each enclosing a rosette. Design in tan and green. No selvage.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet)

Foliate shapes in a grid in mauve on green.
Pricked pattern for lace
, 18th century
parchment Technique: pricked pattern for Binche lace

Pricked pattern on green parchment for lace piece 1938-49-1.
Border
, 1750–99
linen Technique: block printed using resist, then indigo dyed on plain weave (the fabric was woven with every third weft twice the thickness of the other weft so that the fabric has a ribbed surface)

Border design of swags with tassels between them. In white on blue.
Ugly Gerry
Ben Doessel, American, b. 1987, 2019
Digital typeface
Digital typeface

Font system consisting of uppercase Roman letters (A-Z) and selected special characters made from gerrymandered U.S. congressional districts. Made with Fontself, Adobe Illustrator. File format: OTF.
VIIIe CAHIER D’ARABESQUES ET BORDURES
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Album

Album with a series of designs for ornamental borders featuring arabesque motifs. Each plate has six horizontal designs with repeating patterns. The plates are numbered and signed.
Sidewall
, 1840s
Block-printed paper

Diaper pattern composed of ribbon and bosses with inset, stylized pink leaf and shadow. Optical effect created by alternating light and dark bands of printed ornament.  Printed in black, olive and dark green, on a dark green ground.
Curtain paper
, 1850–90
Machine-printed paper, embossed

Chintz or India-inspired design. Brightly colored exotic flowers interspersed with bands of foliate motifs having appearance of cable twists. Printed in green, pink, gray, red, blue, yellow ocher and black on off-white paper. Appears to be printed on ungrounded cotton rag paper.
A Salon, probably in Stuttgart
Caspar Obach, German, 1807 – 1868, 1850s
Brush and watercolor, gold paint, graphite on white wove paper
Drawing

The room is designed with a geometric plasterwork ceiling which echoes the geometric parquet floor.  A sip-branched gilt and patinated bronze chandelier is suspended from a central rosette.  The room is sparsely decorated with Rococo Revival chairs with Victorian-influenced fringe and antimacassars.  Plant stands and groupings of small portraits and engravings [?] are typical of mid-nineteenth century interiors.  The heavy marble chimneypiece, a candelabra, an overmantle mirror, and a gilt-bronze clock under a glass dome are extravagant elements in an otherwise bourgeois setting.
Textile
, ca. 1770
cotton Technique: printed by engraved copper plate on plain weave.

Complex and busy pattern that includes people banqueting at a dais, a man and a woman jousting from boats, a tower with a seated couple beside it, bacchus in a chariot, nymphs ornamenting a herm, chinoiserie and scenes of feasting.
Textile
, late 18th century
cotton Technique: block printed on plain weave

Large flowers and diagonally moving stems. Pattern reserved. Red on white.
Button
, mid-19th century
bone, brass, tin, copper

1925-2-410-a: Circular button, convex (with flattened top), tin ...;     1925-2-410-b: Circular button, convex (with flattened top), tin ...;     1925-2-410-c: Circular button, convex (with flattened top), tin ...
Design for Rectangular Dining Table on Octagonal Base
A.N. Davenport Co., 1900–05
Pen and black ink, graphite on thin cream paper
Drawing

Rectangular molded table top with dividing stretcher running across center, raised on fluted columnar support with molded triple band around bottom, sitting atop octagonal base terminating in 4 short splayed legs with brass feet on casters.
borders
Liberty Paper & Bag Co., 1900
Machine-printed

Two identical borders (to be cut). Large scrolled center motif and leaves and tendrils in dark red, green, blue, and off-white on beige ground imitating basket weave.
Seascape with Dark Clouds and Breaking Waves
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Beach in foreground with large breaking waves. Dark sky with towering clouds. Miscellaneous pen strokes in margin at top right corner, ink smudges in margin at top left corner.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Open quatrefoils formed of foliate scrolls containing floral motif in center, forms a grid or trellis pattern with smaller floral motif in void. Printed on mica- spotted tan background.
Frieze
York Wall Paper Company, 1895, 1905–1915
Machine-printed paper

Large round foliate medallion alternating with anthemia. Greek key or dentil motif runs along bottom of medallions. Printed on blue ground which is darker at the bottom, getting lighter at the top.
Sketchbook Page: Caricatures
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Caricature of man with facial hair in right profile. 
Verso: Caricature of man with facial hair in left profile.
The Standard Bearer
Albrecht Dürer, German, 1471–1528, before 1500
Engraving on laid paper
Print

A young soldier is represented standing, facing the spectator: his left hand grasps his sword and he holds a banner with his right hand. The coat of arms of the Dukes of Burgundy is on the banner. Harbor with ships in background.
Sidewall
, 1905–1915
Machine-printed paper

Foliate medallion pattern with stylized bouquet of flowers within each medallion, petite floral motif fill in background. Printed in shades of blue, green, white and metallic gold on blue ground.
flute
, 19th century
glass

Tall narrow flute on double spool stem wide flat foot; cut with vertical flat plates bottom, above with twisted panels of fine diamonds and facets.
Calochorti Spec. Div., Plate 75 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Calochorti Spec. Div." from A. C. Van Eeden's "Flora of Haarlem."
Diane Chasseresse
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1800
cotton Technique: copperplate printed on plain weave
Textile

Classical figures in medallions and plaques depicting domestic scenes with cows and Diana with her dog. Brown on white.
Frieze
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper

Alternating large and small foliate medallions. A large floral swag hangs beneath the large foliate medallion. Printed in white, and shades of green, gray, and pink.
Plate XXXIX from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

A machine for masons building walls. A ladder of buckets on chains; going up full, down empty. Four men below, two above, one turning cog wheels. Description in Latin on verso of 1949-152-236.
Diamond Point
, mid-19th century
Pressed glass
Goblet

Small faceted diamond shapes on goblet.
Sidewall - sample
M.H. Birge & Sons Co., 1834, 1892–97
Machine-printed

Geometric pattern on textured paper. Metallic gray-turquoise ground. Pattern of squares and diamonds in shades of metallic gold and green, outlined in black.
Sun Emerging over Ocean with Waves
William Trost Richards, American, 1833–1905, late 19th century
Graphite on off-white paper, lined
Album page

Sun breaking through clouds over sea with mild waves.
Drawing
Felice Giani, Italian, 1758–1823, 1805
Pen and black ink, graphite on paper

A female genius is shown turned toward left and holding a wreath over a trophy of arms. A trumpet is in her left hand. Division marks in graphite.
Project for a Painted Ceiling
, 1750–1775
Pen and brown ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Two vertical panels shows alternative designs.
Knight, Death, and the Devil
Albrecht Dürer, German, 1471–1528, 1513
Engraving on laid paper
Print

A knight in armor, and bearing arms, rides horseback, facing left, in profile. Death rides beside him, showing him an hourglass. A devil follows, his claws extended toward the knight. Rocky landscape in background. A dog and a lizard in foreground.  At lower left, monogram of Dürer, and date of 1513 on tablet resting against a stone on which a skull is placed.
AVIS AUX AMATEURS DU DESSEIN
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Ornamental frame for text giving "Advice to Amateurs of Design." The frame features motifs such as reeds, scrolls, an angel blowing a horn, garlands, winged mascarons, snakes, and mythological figures. At the top is a head with radiating rays above clouds. The plate is signed and numbered. The version of the plate before lettering is in the album (1921-6-216-3).
Border
, 1750–1800
silk. metallic Technique: embroidery using chain stitch with attached sequins on plain weave

Rectangular border of swags and detached floral sprigs on an off-white foundation fabric.
Study of Sleeve for "Sacred Lesson"
Daniel Huntington, American, 1816–1906, 1844
Graphite, white chalk on brown paper
Drawing

Study of sleeve of lower right arm, extending to the right. Arm bent at elbow.
Design for a Flower Stand
, 1810–20
Pen and black ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. A circular base is supported by seven steps. Above rise alternately a column and a female hermae; the first supports the rim of the lower receptacle, the second the upper one, a trellis connecting both. Above is a vase, flowers are in both receptacles.
Designs for Incense Burners, a Mantel, and a Console Table
Henri Sallembier, French, ca. 1753 - 1820, 1778
Etching on paper
Print

Designs for two incense burners flanking a console table and a mantel featuring neoclassical motifs including scrolling leaves (rinceaux), vase, foliate branches, festoons of leaves, friezes, cartouche, rosettes, a snake, meander motif, a hat, and a bagpipe. The plate is numbered.
Ornamental Vase Design
François Boucher, French, 1703–1770, ca. 1738
Etching in red ink on cream laid paper
Bound print

Lidded vase with a pinecone finial. The vase has two handles made from coiled snakes; one snake bites onto a branch at the bottom of the vase. The vase is elevated on a low pedestal. The plate is printed in red ink (sanguine). The plate is signed and numbered.
Design for a Canopy Bed
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The opened curtains of the front are supported by two satyr gaines. A drapery connects the curtain. In front of it and of the entablature is a medallion with leaves and scrolls. On the bed which is seen from the front, lies a woman. Usual background.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

View of a quarter of a vaulted ceiling. Within panels along edges, various seascapes with ships. At the corner, a winged male figure seizing a woman. At lower right, within the open space between framed panels, a farm scene with figures, a turkey, and a rooster. Domestic architecture in background at right. At left, within the open space between framed panels, a set of steps with terrace.
Stage Design, A Forum
, ca. 1725
Pen and brown ink, brush and gray and pale rose wash over black chalk on laid paper
Drawing

Horizontal rectangle. View of a forum in ruins.  Ruins and antique buildings at the sides and in the background (rectangular and round temples).  An obelisk in the middle and an equestrian monument at left.
A man with a Canon
Jean-Baptiste Pillement, French, 1728–1808, 1760-1775
Etching on paper
Print

A chinoiserie-style design for a panel after Jean Pillement, depicting a male figure lighting a canon within a landscape of trees and rockery, in front of a roofed canopy with two hanging bells and two figures standing underneath, watching the canon. The roof of the structure is topped with large leaves. To the left of the canopy, there is a smaller wooden structure with an arched doorway. Below the vignette, rococo-style ornament of fronds and plants, frame a vessel with a fire and smoke.
Project for a Painted Ceiling
, early 18th century
Pen and ink, brush and watercolor on paper
Drawing

Partial view. Below, view upon two stories from below, the first having in the center a balconette with a trophy of arms; above, an entablature, the second story, with a window in the center. Then the main entablature, framed outside by a moulding with interlaced waved lines. Imaginary view into a cupola above pendentives. Framing lines, except at right.
Man
Robert Frederick Blum, American, 1857–1903, 1879–1880
Graphite on wove paper
Drawing

Sketch of a male figure smoking a cigar.
Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, ca. 1793-94
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

A variation of the design -1058. The colonnade in the ground floor is the Doric order. Second story: A colonnade of Ionic order, with closed arches except for door openings. The pedestals are connected by balustrades. Top story: Corinthian order. Windows of the  third and of a mandsard story are in each bay. Entablature with a triglyph frieze. Scale in the first arch of the colonnade. Probably for the Palazzo Braschi Alle Convertite.
Design for a Feather Skirt
, 1785–1790
Graphite, brush and olive green, lilac, gray, white, and blue gouache on paper
Drawing

Green fronds and green background. The decoration forms an elongated scallop, bordered at left and at the bottom by a white border with waved outline inside and decorated with plants and feathers and by a ruffle bordered at right by ruffled ovoids and a cord motif. The inner decoration consists of garlands, vine branches, and a fantastic spray.
Border
, ca. 1830
Block-printed

Frieze with ivy leaves and flowers. Across bottom, simulated palmette molding. Printed in yellows, browns, grays and black on green ground.
Sketches of Cattle, Irvington
Samuel Colman, American, 1832–1920, September 1876
Pen and black ink, brush and bistre wash, graphite on paper
Drawing

At right, a walking steer turned toward right, with the head facing away from viewer. Lower left, oriented differently, the head shown from behind the right ear.
Clock Case Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Design for a pendule, or clock. The pendule features a landscape around the face, with dogs and a trophy with hunting attributes. The plate is signed and numbered.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design adorned with foliate scrolls, festoons of leaves, putti holding a draped fabric with the face of Apollo framed by sun rays, an eagle, mask (mascaron), rosettes, fleurons, scrolling leaves (rinceaux), and lions. The plate is signed and numbered.
Wall Mirror Frame Designs
Jean Mansart de Jouy, French, 1705 - 1783, ca. 1767
Etching and engraving on laid paper
Print

Designs for paneling (boiseries) featuring a central large wall mirror with two different options in the design (split in half). The designs feature rococo ornament and motifs. The mirror frame molding features palm leaves, festoons of flowers, c-scrolls, asymmetrical cartouches, scrolling leaves (rinceaux), foliage, shells, with a clasp in the center of bottom. Above the arched mirror, an intricately sculpted panel (boiserie), with a large central clasp and rocaille motifs. Below the mirror, plain molding and on either side, the edge of arched molded paneling, possibly for doors. The plate is numbered and signed, with a scale below.
Study of a Leafless Tree
Daniel Huntington, American, 1816–1906, 1836
Graphite and black crayon on cream wove paper
Drawing

Study of a leafless tree. The trunk is turned to the right, with its two main branches extending to the left.
Button
, 19th century
Silver plated, brass

Flat button ornamented with a crown. Back and shank of brass. On reverse, "G and Cie Paris M18".

On card E
Galerie métallique des grands hommes français (Great Men of France)
Louis Michel Petit, French, 1790 - 1844, 1819
Cast bronze
Medal

Bust of Sébastien Le Prestre, marquis de Vauban (1633 - 1707 ).
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache on glazed tracing paper
Drawing

The repeats, five of which are shown, consist of a big lace seed hanging from a short bough from which two more leaves branch off.
Cabinet
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a six-paneled cabinet with details of fixtures.
Wall and Ceiling Decorations in the Pompeiian Style
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash, black chalk, graphite on laid paper
Drawing

Horizontal rectangle. Beginning at height of upper part of body of chandeliers, consisting of women standing upon columns and raising their arms. Ring with candles sketched at right edge. Women stand between embedded columns, at right. Broad intervals between columns decorated with tent-like drapery, in front, bowl of fruits hangs.  Above: besides drapery are two festoons. Above entablatures are semi-circles each with flying putto, crossed by festoons. Main panel of ceiling: tiara in front of moon, between two putti and stars. Beside two square panels with circle inside, left one, a woman with flowers next to putto with plate; right one, winged figure with torch beside putto. Both circles with stars in background. Written below at right: "Longezza d'ella sala cento sesanta Palmi". Verso: in pencil, square and sheet on upper part of woman with trumpet.
Sampler
, early 19th century
silk embroidery on linen Technique: cross stitch on plain weave

Religious verse arranged as an acrostic.
Rank badge
, late 17th–early 18th century
silk, metallic yarns Technique: embroidery, applique

An egret, embroidered in white, is poised on a rock which is worked in dark blue against gold sky; cloud bands in colored silks above.
Litterae
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1594–1596
Recto: pen and brown ink, brush and brown and gray wash, over black chalk on laid paper Verso: pen and brown ink, brush and brown wash, with traces of black chalk on laid paper
Drawing

Recto: Apollo appears seated holding a violin beneath a tree at center. Around him are symbols of the Liberal Arts. In the background are two large buildings, a formal garden, and a fountain.   
Verso, above: Hunters on horseback in a mountainous landscape lasso a stag. Verso, below: In a clearing, a goat and a bull are attacked by foxes. Hunters observe from the background at left.
Sketchbook Page: Six Scenes; Verso: Five Studies of Horse Heads; Head of Lion
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush with brown wash over traces of graphite on cream laid paper
Drawing

Triumph of Bacchus and Arianna; Madonna with female figure; Madonna and infant with St. Anna, St. Elizabeth; Bacchic representation; Sacred Family with St. John. Verso: five studies of horse heads; lion head.
Elevation and Plan of a Table
Richard de Lalonde, French, active 1780–96, 1787-1796
Etching on off-white laid paper
Print

Elevation and plan for a table with curved, tapered legs converging at a single point on which sits a tall urn. The table is decorated with ornament motifs including scrolling fluting, acanthus leaves, rose garland, and bead course. The plate is signed and numbered.
Elevation of the wall of the salon of Princess Czartorinska.
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1730–50
Engraving, black ink on white paper
Print

Wall of a room decorated in the rocaille style, with mirrors. A door is flanked by fireplaces and console tables. Inscribed, lower left: "J.A. Meissonnier inv.";
Lower right: "Babel Sculp."
In center: "Vue du meme Sallon du coste des glaces."
Leaf Ornament Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Six scrolling leaf (rinceaux) ornament designs. The plate is signed and numbered.