biglam/cooper-hewitt-alt-text huggingface dataset:
Woman
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on paper
Drawing

Sketch of seated female figure wearing a dress.
Le Grand Bassin du Boulingrin à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. Detailed views of the Chantilly gardens and parkland. The upper plate illustrates a fountain in the garden of Chantilly, a rectangular basin with jets of water, with trees and topiary and figures walking along the paths surrounding the fountain. The lower plate illustrates the Manse Pavilion, which housed a hydraulic machine to supply water for the gardens at the Chateau of Chantilly. The pavilion in the center background with water in the foreground, bridge, land, and figures. In the background, trees, and buildings. The plates are titled.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Laterally are pilasters, the shaft of which is divided in three sections. Below are oblongs with bearded masks lying in panels. The central sections have a somewhat smaller width than the other sections. They show panels of colored marble. In the upper sections are ovoidal medallions, framed by branches. The inner frame consists of moldings. Above it is in the center an oblong with an ovoidal medallion with figures. Laterally are parts of a receding frieze showing marble panels. On top are cornices of an entablature. The cast shadow is shown. The wall and the floor are slightly colored. Base line. Below are the plans, at left of the lateral parts, at right of the right half of the entablature; and the s cale: Scala di Palmi… Dieci Romani in black ink. Framine line and stripe are below.
Door wall elevation
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Door wall elevation for the Noble Cabinet, Palazzo Altieri.
Rugged Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, April 17, 1889
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of rugged mountains in Mexico, likely witnessed while traveling between Mexico City and Cuautla. Taking up the entire composition, the view comprises of overlapping and successively taller mountain ridges with sharp peaks. A large, rounded peak is visible at upper left, flanked by puffy clouds. Shadows fall on the mountainsides throughout.
Tea Scoop
, 1833
silver
scoop

Scoop shaped bowl, reeded on the exterior and with corded tapering stem with pointed terminal.
Design for a Candelabra
Carlo Marchionni, Italian, 1702–1786, ca. 1800
Pen and ink, brush and wash on paper
Drawing

Elevation of a five-armed candelabra. Arms decorated with leaves. At center, a musical trophy.
Design for a Bed
Richard de Lalonde, French, active 1780–96, ca. 1785
Pen and ink, brush and watercolor, graphite on paper
Drawing

Canopy supported by four posts; upon the corners are bunches of feathers; an urn above and scale below.
Plan et elevation d'une porte de campagne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of a large entryway gate for a country house. The gateway is decorated with sphynxes on pillars, iron gates, and garland. The plate is signed.
Clouds over Olana, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 28, 1871
Graphite and white chalk on gray-green wove paper; verso: graphite and white chalk
Drawing

Landscape and atmosphere sketch showing large clouds over the Hudson River landscape, as seen from Church's home, called Olana, near Hudson, New York. The puffy, billowing forms of this towering cloud bank extend across the horizon, with hazy, high-altitude clouds shown above. These clouds have relatively flat bottoms.

Verso: Landscape sketch showing a view of sunlight shining off of the surface of the Hudson River, as viewed from Church's home near Hudson, New York, called Olana. Positioned along the upper portion, the river stretches horizontally across the composition. Noted as being "red," the river likely reflects the light of the setting sun. A nearby bank or hill with vegetation is shown closest to the viewer in the foreground.
Eight tombs
Giuseppe Barberi, Italian, 1746–1809, 1790-1800
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Center: a woman, sitting, carrying in her right hand a chalice motif. She supports with her left arm and together with a kneeling putto a medallion, standing upon a book, showing the bust portrait of a bearded man. Above, at left: upon a high pedestal stands a sarcophagus covered with a cloth. Two putti sit at the oblique sides of the pedestal. Above is a pedestal, a variation of 1938-88-1290 with a kneeling putto. The setting is the usual intercolumniation with a niche and an entablature, in front of which is an escutcheon with a crown. Gardlands upon the frame of the niche. Above at right are two variations of the first design, one beside the other. The left one has a very indistinct sarcophagus, probably in urn shape. The right drawing shows an angular one, lower row. At left: upon a base stands a sarcophagus covered with a cloth held by two standing putti. Upon the sarcophagus lies a cushion with a crown. Above, in a niche, a group like the one in the upper design. Center: two intercolumniations with two columns in the center as if serving a pedestal for the central group. The design at right is similar to the first design of the second row, with a figure standing above. The design at right is a variation, with out the crown; above, a group like the one in the other designs. At right, a variation of the design above, left, with a pedestal similar to the in 1938-88-1255, left, with a sarcophagus of different shape. The central group was made later and drawn slightly over the first and second design, upper row. The first design above and two in the row below slightly drawn over the sketch of a standing Virin with the Child. Beside, scratchings drawn over by some other designs.
Stage Design, Interior of Temple
, late 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Inside of temple in antique style. Statue of goddess on pedestal in foreground at right. Openings between columns closed by hangings.
Band
, late 16th–early 17th century
linen Technique: grid of laid cord with needle lace (reticella style)

Band of reticella has three compartments showing a sea creature and other decorative motifs.
Fragment
, early 19th century
silk Technique: painted on satin weave

Gold painted satin in birght colors in large floral design of flowers and birds in imitation of Chinese painted  textiles. Coarsely painted.
Textile
, 1740s
silk Technique: predominantly warp-faced plain weave patterned by discontinuous supplementary wefts (brocaded) bound on the front in 1/2 twill

Delicate curving stems of flowers in bright shades of pink and blue on a cream background.
Box
, early 19th century
turned wood, cherry

The box is flat and circular. Upper and lower portions are of equal size and held together with a bezel turned with the upper section. The upper surface of the cover is ornamented with a rosette pattern produced with a compass, inscribed within a circle.
Textile
, ca. 1800
cotton Technique: block printed on plain weave

Alternation of two stripes on deep red background. Stripe a. a repeat of a tulip plus other flowers. Stripe b. a twisted ribbon with flowers. Length of repeat: 32 cm. (12 1/4'')??? Mordants for red and black applied by block. Blue and yellow applied by block.
Dress fabric
, 1880–90
silk Technique: Jacquard woven. Plain weave (grey with white stripe) with a supplementary warp (purple). In the centers of the flowers the supplementary warp shares a complementary function with the white warp, allowing it to float on the front. The long floats between motifs on the back were cut away after weaving a part of the finishing process.

Fine gray-blue thin taffeta with narrow white stripes with small purple floral sprays in floats of extra warps.
Study of a Boy
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young boy's head and upper torso, seen from the front. He has long shoulder-length hair and wears a jacket and shirt. The plate is signed and numbered.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color ground with floral bouquet
b. blue/grey ground with floral bouquet
Fables of Fontaine
Hartmann et Fils, Munster, France, ca. 1815
cotton Technique: printed by engraved copper plate on plain weave
Textile

Eight different framed 'pictures' each illustrating one of the Fables of la Fontaine. Each scene is captioned in French. Some of the titles on the textile have changed from the de la Fontaine title. Sepia on white. Mounted on linen plain weave, stuffed and quilted.
Self Portrait
Angelica Kauffmann, Swiss, 1741–1807, 1770
Etching on laid paper
Print

The artist sits at a table, resting her elbows on it, with her head on her hands, which are supoprted by a large book.
Cartoon for Cotton Printing: "Les Quatre Saisons"
B. M. Lebert, 1759–1836, 1815–20
Pen and brown ink, brush and grey wash, on cream paper, pieced; squared in graphite for transfer
Drawing

In the upper left, Flora seated in a landscape is being kissed by Zephyr lying on a cloud-bank, while a river god sleeps to the left and two children drive sheep to pasture to the right (symbolizing Spring).  In the lower left, figures offer children, fruit, and other foods to Ceres, seated in a bower, while in the distance, figures are seen dancing in a wheat field (symbolizing Summer).
Costume Design: A Frenchman for a Ballet
, ca. 1790
Lead pencil on paper
Drawing

Vertical rectangle. A scantily clothed young man is shown in a dancing pose, moving toward left, his head turned toward the left shoulder.
Fragment
, 18th–19th century
linen Technique: bobbin lace, Binche with no ground

Lace fragment in a scroll pattern, coarsely made. In a provincial style.
Fragment
, 17th century
silk Technique: 7&1 satin with discontinuous supplementary wefts (brocaded)

Very large flowers with small birds and animals. both selvages present. Some wefts are chenille.
Waistcoat
, ca. 1780
silk, metallic thread Technique: embroidered, plain and twill weave

Waistcoat of silver cloth brocaded in a small flower pattern with a two and half inch border, woven in one with the cloth. Metal is bound in twill weave. Border is an elaborate combination of chenille and three kinds of fine gold cord. Design is small red roses and green foliage in chenille intertwined with a meander of gold, and ornament in meander of raised loops. Flower heads of foil outlined in fine gold bullion stitches; outline of parts of the design, of front of waistcoat, and of pockets in fine threads of gold paillettes. Form of waistcoat is slightly fitted at waist, and at bottom, corners sweep back to point. Closes from neck to point; where coat sweeps back, in twelve foil-covered buttons. No collar. Pockets shaped into side and center points of same weave as border design, and with three buttons. Back, satin, laced; lined with satin throughout. Pockets of white leather.
Fragments
, 19th century
silk Technique: embroidered

Dark blue silk ground with allover close embroidery in silks which were originally polychrome but are now tan. Design on body of piece of profile peacocks alternating with flowering branches. Border of blossoms alternating with peacocks with spread feathers.
Cravat end
, early 18th century
linen Technique: bobbin lace, Brussels style

Symmetric floral all-over pattern. Fond: Droschel. Modes: St.Esprit avec rangs clairs, maille à cinq trous, portes.
Fragment
, 18th century
cotton Technique: block printed on plain weave

Fragment with a design of a curving vine with flowers and fruit in red, blue, violet and dark brown outlining.
King James II of England (after Kneller)
Isaac Beckett, English, ca. 1653 - ca. 1717, 1685–89
Mezzotint engraving in dark brown ink on paper
Print

Half-length, standing slightly to the left, James II of England (1633-1701) is seen in wig, lace cravat and armor. Oval format. Inscribed below: Jacobus II dus D. G. Aug. Sco. Fra et Hib Rex. G. Kneller pinx: I. Beckett fec. Sold by I. Beckett at the golden head in the old Baily.
Clavus band
, 6th–7th century
Warp; S-spun, two ply Z-twist linen. Wefts; Z-spun linen, S-spun wools.

Band with attached ovate medallion. Design of animals and figure with a nimbus.
Ecuelle and lid
, ca. 1700
Pewter

Circular bowl with baroque cartouche-shaped handles moulded with decoratve scrolls, the circular lid also decorated with spiral lambrequins and scrolls.
Fig Tree House, Lincoln's Inn
Joseph Pennell, American, active England, 1857–1926, 1905
Etching on paper
Print

Horizonal rectangle. The façade of an attached house, with outside chimneys is seen at the right  The enclosure of Lincoln's Inn in the distance.
Trimming
, 18th century
silk, metallic thread Technique: woven

Design of open flowers and diagonal lines set between saw tooth borders. Gilt picots at either edge. In yellow and metallic thread.
Ornament, Christmas tree
, 1850–99
Sugar and dough

Basket with pink cookies and purple paper handle.
Matsumoto Koshiro leaping through a wall
Utagawa Kunisada, Japanese, 1786 – 1864, ca. 1835
Woodblock print in colored ink on paper
Print

An animated samurai, Matsumoto Koshiro is leaping through a hole in a wall with his sword in mid-swing above his head. Notice how this exhilarating print elegantly framed with bamboo leaves complements the organic shape of the punched hole.
Fragment
, 17th century
silk Technique: supplementary warp forming raised pile (velvet)

Rectangular fragment of green velvet.
Textile
, 18th century
cotton Technique: printed by engraved copper plate on plain weave

Fragment printed in red on white showing a pack of hounds and the forelegs of a horse (suggesting a hunting scene), and a group of men around a barrel.
Monocle
, 19th century
Steel, cut-steel beads, glass

Single circular glass set in frame of cut-steel balls with handle of cut-steel balls arranged as a loop.
The Four Seasons
, 1770–80
linen warp, cotton weft Technique: printed by engraved plate on plain weave
Textile

Four scenes of a male and a female figure in a rural setting. Each scene represents one of the four seasons. Each scene is separated by a tree. In black on white.
Panel
, 18th century
cotton Technique: mordant painted and resist dyed on plain weave and quilted (chintz)

On dark cream ground, predominantly blue and red pattern of exotic flower heads and twining branches. Field has central medallion and decoration in each corner, is separated from wide floral border by two narrow decorated strips. Quilted and backed with coarse olive green and white cotton.
Design Rectangular Oak Table with Five Stile Legs
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded top with dividing stretcher running across center raised on 5 plain stile legs terminating in flaring square feet with suggested floral ornament and three narrow molded bands above.
Towel end
, 19th century
cotton Technique: braided

These fringes were probably cut from towels and were originally the ornamentation made by weaving and braiding the warp ends.  A lozenge design with crosses and quatrefoils in openwork.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1809
d.) paper and textile swatches (fibers not identified)

Component "d" is a page from Ackermann's Repository, October 1809. Page contains printed graphics and four textile swatches: two printed, two woven.
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Fifteenth page (recto) of the engraved text describing the festivities framed in a rocaille border, with an L within a cartouche on the top and the city of Strasbourg's coat of arms on the bottom. Sixteenth page (verso) of the engraved text framed in a rocaille border, with the royal cypher of interlaced L's in a cartouche at the top and the city of Strasbourg's coat of arms on the bottom.
Album of Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648–1719, late 17th–early 18th century
Album

Album of designs for heraldic achievements, devices, vignettes and allegorical figures and creatures. The plates are numbered, with some repetition in the plates in various states.
Sidewall
, ca. 1855
Block-printed

A Gothic paper, originally light toned but which has been darkened by varnish. Two motifs alternate vertically. One is a Gothic chamber with vaulted ceilings. The other is composed of a carved stone canopy behind which are two double arched leaded windows. Printed in brown, yellow-brown, yellow-green and slate-blue.
Button
, ca. 1760
Gilt copper, watercolor on ivory

Circular metal form with inset miniature painting of a chinaman.

On card 43
Sketchbook Page: Caricature of Carolus-Duran
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Caricature of a figure with a beard and exaggerated hair, parted in the center, likely Carolus-Duran. 
Verso: Note with address, and faint sketches of building and trees.
Single Early Tulip, Plate 73 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Single Early Tulip" from A. C. Van Eeden's "Flora of Haarlem."
The Kipling
, 1906–07
Machine-printed
Sidewall - sample

Art nouveau; oversized filled tulips, vertical connected by intertwined maze of stems. C-curves top the flowers. Printed in red, ocher, olive, blue and shades of green on a textured green background.
Christ standing
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Christ standing and holding a tall support. His head is bent to the right, and He is barefoot.
Band
, 17th century
natural linen Technique: bobbin made continuous tape with bars

Fragment of band with meandering vine.
Bourdalou
, ca. 1775
Tin-glazed earthenware

Oval boat-shaped vessel with contoured rim outlined in red. Rustic handle washed with yellow and decorated with red. Sprays of red, blue and yellow flowers with green leaves on sides and front.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

Mostly pink, squarish medallions, repeating diagonally. Printed in pink, green, metallic gold on tan ground.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a baby.
Border
, 1800–1830
Block-printed on handmade paper

Architectural cable molding over a row of dentilling.

H# 656
Orphrey
, 15th–16th century
silk Technique: woven

Orphrey with a design of the Assunciation, in rose and gold.
Golf Caddy and Clubs
, late 19th century
Silver
Matchsafe

Oblong, with rounded corners, featuring raised decoration of boy on country golf course with golf bag and clubs slung over his shoulder; he wears cap, long-sleeved shirt, tie, knickers and knee-high boots; trees, fence and tee flags in background. Lid hinged on side. Striker recessed in bottom.
Acanthus leaf: from a cast
Esther Silver, 1919
Sepia wash on paper
Drawing

Vertical rectangle. Rendering of an acanthus leaf; drawing from a cast in relief. Signed in ink, lower right: "E. Silver." Also signed in ink on reverse.
Folding screen
, 1800–1825
Block printed on handmade paper, wood frame

Six-panelled folding screen, covered with wallpaper depicting four classical statues and two pilasters. Each of the figures is perched atop an ashlar block plinth. Draperies and cord and tassels are suspended from the tops of the pilasters. Printed in grisaille with pink highlights.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Green and yellow leaf design on dark blue ground, scattered white oriental motifs.
Border
, 1905–1915
Machine-printed paper, liquid mica

On tan ground, sprays of white flowers on green stems, red stems and tan flowers. Vertical bands in light blue, white, and green.
Plaete Bendes, Figuréz et Broderée, in Nouveaux Livre de Parterres contenant 24 pensséz diferantes (New Book Containing 24 Different Variations for Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Landscape architecture design for garden.
Cap streamers
, early 18th century
linen Technique: needle lace

Cap streamers of Point de Venise à Réseau in an asymmetric design of floral and foliated forms are flanked at intervals by scalloped garlands, emerging from a geometrically shaped base.
Sidewall
York Card & Paper Co., 1891, 1885–1920
Machine-printed paper, liquid mica

Matching sidewall and border. Wallpaper contains floral bouquets and scrolling foliate scrolls.Printed in red and white on mica-striped background. Maroon, rose and white floral scrollwork on pink ground. Border is printed two across the width. Floral bouquets and scrolling foliate sprigs, narrow band of scrolling florall and foliate motif at bottom edge. Printed in red and white on pink striped background.
Sampler
, early 19th century
cotton, paper Technique: embroidered on net

Twenty-seven patterns embroidered on hexagonal double-ply mesh in small squares; three squares not filled in. Mounted on red paper.
Fragment
, 12th–13th century
cotton Technique: resist-printed on plain weave

Unbleached plain weave cotton.  Design in red and dull brown (possibly faded purple), stylized branch with pointed leaves; curved stem alternates with two types of fleuron formed of flower heads in profile.  Remains of border in simple block pattern.
Fragment
, 17th century
linen Technique: bobbin made continuous tape with connections added

Fragment of a wide band with plant like shapes.
Design for Ceiling and Four Walls of Room
Frederick Crace, English, 1779–1859, 1815–22
Pen and gray ink, brush and watercolor on off-white wove paper
Drawing

Vertical Rectangle: Ceiling center. Upper wall has console center, mirror above it. Right wall has windows either side of console with mirror above it. Lower wall has fireplace center, mirror above it. Left wall has decorated panel, doors to left and right.
Self-portrait
Giuseppe Sabatelli, Italian, 1813–1843, ca. 1825
Charcoal on grey paper
Drawing

Bust-length portrait of a young man, facing one-quarter to the left, gaze directed frontally. He wears a loose collar and loosely tied cravat. Verso: partial sketch of a man's upper left arm.
Winged figure holding strap with putto
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure holding bandella or strap, floating above putto. Figure holds an end of the strap in each hand and looks upward. One leg is bent at the knee so that the lower part of the leg is not visible. The putto holds his left arm above his head.
Half Dome, 4967 feet, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

Landscape featuring wooded area, river, and mountains in the background.
Gilded Leather Case for Traveling Cutlery Set
, early 17th century
leather, gold, cotton
case

1985-103-253-a: Small case for six implements, stamped leather wit...;     1985-103-253-b: Oval rat-tail spoon bowl with round neck and screw...;     1985-103-253-c: Plain straight handle with finial on top, can be s...;     1985-103-253-d: Waisted steel handle inlaid with mother-of-pearl, ...;     1985-103-253-e: Slightly curved upper edge, lower edge curving tow...;     1985-103-253-f: Waisted handle inlaid with mother-of-pearl, four r...;     1985-103-253-g: Three straight tines, rounded shoulders and plain ...