biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
, 1712
silk and linen embroidery on linen foundation Technique: embroidered in cross, long-armed cross, back, satin, eyelet, chain, four-sided, and threaded Gobelin stitches on plain weave foundation

Alphabets, isolated motifs, and large ship in the middle.
Border
, early 17th century
linen Technique: needle lace

Fragment of border with a symmetrical leaf shape enclosed by an upside-down heart that alternates with a symmetrical plant form. Both are topped by alternating flower and sprig shapes.
Fragment
, 18th century
silk, metallic thread Technique: satin and stem stitch embroidery on taffeta

Red taffeta embroidered in floral design in polychrome silks, and gold and silver wound on silk cord. Satin and stem stitches.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Landscape frieze, with trees and rolling hills in background, and large-scale pink flowers, probably poppies, and white picket fence in foreground.
Sketchbook Page: Portrait of a Young Man (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Portrait of a young man, facing towards the right, looking over his right shoulder. Likely a self-portrait.
Suspenders
, early 19th century
silk, leather Technique: knot stitches on taffeta

Leather suspenders decorated with multicolored floral design on a white ground.
Textile
, ca. 1750
silk, linen Technique: 5-harness satin damask

Damask with a vertically symmetrical pattern of two offset floral forms enclosed with a flowering branch forming a grid. Off-white pattern on a satin striped background of rose, pink, green and violet.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Medallions of scrolling foliage with stylized flowers. Individual large and small flowers are interspersed between medallions. Light yellow ground. Printed in greens and white liquid mica. Slight water damage.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Floral design with large-scale stylized tulips, in groups of three, Secondary design of tulips and foliage printed as silhouettes. All-over patterned ground.
Chintz
, 18th century
cotton Technique: mordants (black, 3 reds, 2 purples) applied by brush or pen (red over a resist); blue applied by brush over resist; yellow (now faded) applied by brush; chintz on plain weave

Various flowers with trailing stems on a red ground.
Fragments
, 19th century
silk Technique: plain compound satin

Decorated circles and crosses in blue and rose on a light tan ground.
Rain Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

This motif depicts a rainstorm using tiny organic forms. The border of the stencil is worn away and is not in great condition.
Snuff Box
, 1800-1810
three-color gold, vitreous enamel, silver, old-mine cut diamonds
snuff box

Box, oblong with rounded corners; gold with bleu de roi enamel plaque on cover with applied "N" inlaid with diamonds.
Woman Reading
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

Bust of woman, facing left in profile, bends over a table, reading a book.
Plate III, from "Characters who Frequented Button's Coffeehouse About the Year 1720"
Samuel Ireland, English, ca. 1744–1800, 1786
Aquatint on paper
Print

Interior scene with four men around a table. Two of them are seated. Two men are standing, one at left, the other one at right. The latter is wearing a coat.
Portrait of Jan Snellinck, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1660
Etching on paper in black ink
Print

The body in three-quarter view to right, the head in three-quarter view to left. A portrait of an elderly man holds his right hand on his chest. Mountains are in the background.
Posset Pot
De Paauw (Peacock) Factory, Dutch, active 1651 - 1774, 1705–40
Tin-glazed earthenware
posset pot

Cylindrical body with straight sides; 2 loop handles opposite sides; spout rises along side body, projects horizontally from squared shoulder; domed lid with wide lip and flattened knop finial; painted in underglaze blue on white with chinoiserie birds, flowers, scroll bands.
Frieze or dado
, 1800–1850
Block-printed on handmade paper

Two circular designs in pink, yellow, black with marbleized lozenge shape in center of each; stylized floral motif and shell motif borders, on dark olive ground.
The Holy Family, Saint John the Baptist, and Another Saint
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed outlines
Drawing

The Virgin is sitting, seen frontally, the Child upon her right leg. She has her left hand on his left shoulder, while he touches Saint John who kneels upon a decorated pedestal. In the background, at left, an adoring bearded saint, at right, Saint Joseph. Framing line.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Double-handled vase. The vase has an ornamental relief around it, at the center of which is a helmet. There is a draped garland at the bottom of the vase, and the vase is raised on a low socle. The plate is numbered.
Doily
, early 19th century
cotton, glass beads Technique: embroidery

Rectangular length of white cotton with two short ends in pointed scallops. Beading and fringe only on scalloped ends. In each scallop is a vase with a blossoming plant springing from it. Multicolored beads used.
Botanical Sketch, Pride of the Mountain
Frederic Edwin Church, American, 1826–1900, September 2, 1853
Graphite on tan wove paper
Drawing

Botanical sketch showing two views of a plant, ostensibly called "Pride of the Mountains." Sketches of the plant with full stem and detail of blossom visible center left. Sheet was folded at some point, resulting in dramatic and uneven discoloration of the paper.
Design for a sedan chair
, ca. 1775
Pen and ink, brush and various water colors on paper
Drawing

Shown from the rear right corner with two bars.  The window has two panels and a curtain. The panel beside it is decorated with a disk with a small garland and a flower stem curving from the lower right to the upper left corners.  The upper parts of the upper panel of the back and of all the three bottom panels are decorated with festoons hanging at bow knots.  A small escutcheon is in the center above the lower edge of the upper panel of the back.   Crowns are at the corners and on top of the roof.  Tassels hand at the corners.
Project for Ceiling Design Depicting Aurora
Felice Giani, Italian, 1758–1823, 1810–25
Pen and brown ink, brush and watercolor, black chalk on off-white laid paper
Drawing

Circular composition.  Aurora flies toward right holding leaves above a basket which is carried by putti. One putto below pours water from a jar.  In the left background is Apollo rising in a chariot.  Framed by a square in graphite, the lines being divided into eight parts.
Study for "Herding," "The Progress of Civilization: Hunting, Herding, Agriculture," State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Partial sketch of a bull with horns.
Side chair and slip seat
John Hewitt, American, 1777–1857, ca. 1820
mahogany,poplar,horse hair

Back legs flat-sided, front legs flat excepting rounded front face; legs curve outward toward bottom, and back legs incline toward each other at bottom.  The chair's back corner posts terminate in a volute-like form at the top of the chair.   The chair's top rail, slightly arched, is bowed towards the back.  A rectangular panel of inset veneer is surrounded by beading.  The chair's splat is horizontal, composed of a small oblong-shaped rectangle faced with veneer, flanked on either side by horizontal coupled C-scrolls covered with foliage.  The C-scrolls terminate in volutes.  The seat flares from back to front, with straight edges.
Plan du rez de Chausé de la maison de monsieur Jabba côme les desseins ont esté fait par l’Architecte
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for the first floor of a house, the rooms are labelled, with a central courtyard and a scale below. The plan is titled and signed.
Detail from a Frame or Molding Design
François Roumier, French, 16..–1748, 1750
Etching on paper
Print

Design for a corner detail of a frame or molding featuring scrolling leaves, acanthus leaves, fleurons, diaper and flower pattern, shell, gadrooning, batwing motifs, and part of a cartouche with a cypher. The plate is numbered.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1900–05
Machine-printed on paper

Frieze shows mounted hunters in red coats, with hound dogs, against a landscape background, with deep red foreground. Printed in upper margin: Carey Bros. W.P. Mfg. Co." Intended for use in alternation with 1938-50-18.
Design for a Crystal Urn with Silver Mounts
Joseph Anton Seethaler II, German, 1799–1868, 1827–1835
Pen and black ink, brush and wash, green water color on paper
Drawing

Ovoidal carved glass urn, with a circular base and tall neck, decorated with spiral fluting. Silver handles terminating in roosters' heads, and attached at their bases to a band of grapevine encircling the body of the object. Signed pen and black ink, lower right: J. Seethaler.
Edging
, 19th century
linen Technique: bobbin lace, Brussels style

Duchesse-style lace with pattern of open flowers and leaves with côte and small scrolls.
Fragment
, 12th–14th century
Warp; linen. Wefts; linen, silk. Technique: supplementary wft floats on a plain weave background.

Diagonal bands of brown silk in geometric pattern. One selvage present.
Ornamental Vase Design
Maurice Jacques, French, ca. 1712–1784, 1760-1775
Etching and engraving on paper
Print

Vase design with a long garland of leaves draped over and around it. The vase has a long, stepped neck with shallow circles carved out of the upper portion. There is a band of meander on the lower part of the neck. The vase has gadrooning over the lower half, and a tall foot with a spiraling pattern. The vase is elevated on a small plinth. The plate is signed and numbered.
Sidewall and border
, 1890–1900
Machine-printed, glazed

Vertical rectangle. Double vertical panels containing dentate leaves in white, with golden yellow veins and scalloped. Printed in colors and glazed.
Standing Woman
Luigi Vanvitelli, Italian, 1700 – 1773, 1700–1773
Black crayon on paper
Drawing

A standing woman, facing forward. Her left hand supports her face, the right holds and apron.
Fallen Rock Caught on Debris, El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, March 2, 1868
Graphite, brush and white gouache on brown wove paper
Drawing

Landscape sketch showing a view of a large rock caught on mountainside debris in the valley known to the artist as El Yemen, located in the Makhteshim-Ein Yahav Nature Reserve in present-day Israel. Situated in the foreground at center left, an immense boulder is nestled among smaller stones and other debris on a steep and rugged mountainside. In the background, a rugged mountain ridge faintly extends into the background.
Recto: candlesticks; Verso: mausoleum in a church-like hall
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Recto, at left: two griffins support crouching a calyx from which leaf scrolls rise. Two become branches with a blossom as a socket with candle. Two more frame an oval medallion with a figure and support on top another socket with a third  candle. At right: above is a sketch of a pedestal. Below are three candles, the outer being supported by the heads of two birds, in whose front the medallion stands. Verso: The mausoleum is supported by colonnades, in the shape of a Greek temple. Inside, a figure seems to be near a sarcophagus. The hall has pillars with arches and a vaulted ceiling, obliquely shown. Below at right, a sketch of the plan of cornices.
Bandbox
Hannah Davis, 1784 – 1863, ca. 1840
Block-printed paper, wood support

Soldiers in costume of Napoleon's time, in pink and green, on yellow field, enframed in white drapery motif with tassels. Lined with newspaper of 1833.
Painted Panel (Boiserie) Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, 1755–76
Etching on laid paper
Print

A design for a painted panel (boiserie) with rococo ornament with a plinth in the lower center topped with flowers, grasses, and leaves framed by rococo ornament featuring trellising, c-scrolls, s-scrolls, festoons of flowers and laurel leaves, rinceaux, fleurons, ribbons, acanthus leaves, cartouches, vases of flowers, and Greek-key motifs. The plate is numbered and signed.
Leaf and Branch
René Crevel, French, 1900–1935, 1920
Block printed on paper
Sidewall

Printed for Nancy McClelland of New York City. A stylized continuous vine in deep blue with mustard-colored leaves and green berries. Same design as 1945-3-7. Printed in mustard, deep blue and gray on lemon field.
Design for a Frame
, 1680–1720
Pen and brown ink, graphite on off-white laid paper
Drawing

The left half in graphite, the right in ink. Strait sides with scrolls and a vase form above, and smaller scrolls below.
Commode à l'Angloise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a dresser with two doors. The dresser is carved with ornament motifs including wave pattern and lamb tongue. The dresser is raised on short feet with carved fluting and beads. The bottom of the dresser is curved and adorned with scrolls, bead and bar, rosette, and garland decoration. The plate is signed.
Seated Official
, mid-19th century
Brush and watercolor on rice paper
Painting

A seated gentleman of elevated station, facing half-left, in an elaborately carved chair, wearing an embroidered robe and carrying a green sceptre.
Tile panel
, 1775–1800
Tin-glazed earthenware, polychrome decoration, painted wood frame

This eighteenth century scenic panel composed of fifteen tiles is a virtuoso effort in scenic trompe-l'oeil. The design places the viewer on a curtained balcony overlooking a port. Colorful faux marble columns flank a delicate iron railing. At center, a canary sits within a suspended cage.
Fragment of a maniple or stole
, late 18th century
silk Technique: woven

Design of scattered flowers on a patterned white ground.
Study of Man's Head for "A Lesson in Charity"
Daniel Huntington, American, 1816–1906, 1863
Black crayon, white chalk on buff paper
Drawing

Study of the lowered head of an elderly man with a long beard, looking towards the left.
View on the Kaauterskill, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September and October 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the village of Catskill, New York, from a prominence above Kaaterskill Creek. A property with a house and fenced-in, cultivated land is shown in the foreground at lower center. Beyond it, Kaaterskill Creek winds around a heavily wooded prominence at left. In the middle distance at center, a dam visibly cuts across the creek. A large, heavily wooded hill is shown in the middle distance at upper right, in front of the outline of the Catskill Escarpment along the horizon, with Blackhead Mountain prominently visible at upper center.

Verso: Mixed sketches of figures and a tree in Catskill, New York. Two sketches of a figure shown from the rear--likely the same individual, possibly a fisherman or farmer--are visible at upper center. At center right, a tree with a lush, billowing canopy is loosely sketched with dark branches.
Decorative Monogram Design
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letters M and J, featuring flowers, leaves, and ribbons. The letters are topped with a crown of ribbons. The plate is numbered, signed and hand colored.
Designs for Flowers: Single Foot of Larkspur, Double Larkspur, Larkspur, Cornflower, Pasque-Flower
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for flowers with their leaves, numbered with a legend below: single foot of larkspur, double larkspur, larkspur, cornflower, and pasque-flower. The plate is numbered and signed.
Curtain panel
, 15th century
silk Technique: compound twill with complementary wefts Label: silk twill with complementary wefts

Silk curtain panel in dark blue, white, green and yellow silk on a dull red ground. The yellow silk forms the major part of the design: ten panels of exquisitely drawn arabesques are formed entirely of yellow silk wefts; the composition of the two tile panels is also largely outlined by the yellow. In the upper star panel, the pattern is formed by means of a system of super-imposed large and small squares. The outlining bands of the squares have been merged into a complicated system of interlacing strap work. In the ornament of the upper border the arabesque arches are actually supported on columns. Elaborate interlaced patterns fill the narrow bands at top and bottom.
Iceberg Under Cloudy Skies, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on tan paperboard
Drawing

Seascape sketch showing a close view of a large iceberg under cloudy skies off the coast of Newfoundland and Labrador in Canada. Dominating the composition at center and almost stretching across the entire scene, this iceberg is generally craggy and sharp in form, featuring two pointed peaks at left and right. Dark blue veins of ice are visible throughout the berg, while its lower sections show signs of melting and erosion.The iceberg floats on dark brown ocean waters beneath a gray, overcast sky.
Fragment of tunic band
, 5th–7th century
linen, wool Technique: slit tapestry woven with supplementary weft wrapping

Shape with one oval end. In the center a procession of spitited animals.
Chambranle à Consoles
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a bracketed console design. Either side is decorated with acanthus leaves and a vertical bead course. There is a frieze along the top shelf with oak leaves. Below the elevation is a scale bar of four French feet ("4 Pieds"). The scrolling profile of the console is provided on the right side of the plate, and above the elevation is a cross section of the shelf. The plate is signed and numbered, although the lettering of the plate is not evident in the creasing of the album.
VEUE DE L’ISLE NOSTRE DAME et de la Maison de Mr. de Bretonvilier
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the island of Notre Dame in Paris with the river Seine in the foreground, and a bridge and the Cathedral of Notre Dame to the left. In the foreground, many figures, horses, and barges with cargo. Details are lettered with an explanatory legend below. The plate is titled and signed.
Pot à Oille
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a soup tureen with a vegetal finial, gadrooning, scalloping, and rinceaux. The plate is signed and numbered.
Design for a Painted Frieze
, ca. 1790
Graphite, brush and gray watercolor on Chinese black on paper
Drawing

Rinceaux with circular medallions at the ends of the spirals. They contain landscapes, each with two figures. Festoons and tassels hang from the lower parts of the rinceaux. Framing mouldings are shown on top and bottom. Reverse: satyr in hilly landscape. Satyr blows musical instrument.
Funerary Procession
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This depiction of a funeral procession shows an older woman being supported by the community as she walks filled with grief. The family members who just lost a loved one wear white, unlike western traditions. At an initial glance, one might think this is a wedding.
Plan et Elevation de l'Autel des Carmes de Lunéville
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving
Bound print

Plan (bottom) and elevation (top) of the Carmelite altar. The altar is decorated with columns with Corinthian capitals, religious paintings set within rocaille frames, and a sculpted scene of a Carmelite brother riding a chariot through the clouds under a baldachin with putti, flower garlands, and scrolls. In the center of the plate is a scale bar of "deux Toises."
Design for a Painting, Two Flying Putti
Jacob de Wit, 1695 – 1754, 1725–1754
Black chalk, pen and ink, brush and brown and gray watercolor, brush and white gouache on paper, mounted
Drawing

One is directed toward right with the head turned toward the other who is in a diagonal direction behind his back.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels featuring arabesque motifs including scrolling acanthus leaves (rinceaux), fleurons, flowers, festoons of flowers, a basket, a flaming urn/vase, leafy branches, and ropes with tassels. The plate is numbered.
Alpine Town
Frederic Edwin Church, American, 1826–1900, August - September, 1868
Oil and graphite on tan paperboard
drawing

Landscape and architecture sketch showing a distanced and elevated view of an Italian Gothic church or cathedral in a town in southern Switzerland or northern Italy. In the foreground at right, the side of a nearby building is shown with a window and a door. In the middle distance at center, a church is viewed obliquely and features a tall, rectangular belltower with two levels of arched openings. At left, another church with a spire is visible. In the background, a rolling mountain range forms the horizon, while a partly cloud sky is loosely rendered above.
Sampler
, 1804
silk embroidery on wool Technique: cross, satin, stem and knotting stitches on plain weave foundation

Several verses including one for Whitsunday, for Christmas, for Easter, a landscape with a shepherd and shepherdess and scattered ornament
Heurtoirs à Boucles
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two doorknocker designs with two rosette variations in between. The doorknocker at the left has a shell at the joint, and a wide vase with gadrooning at the base, as well as acanthus leaves curling up the sides and a rosette at the bottom. The doorknocker on the right has a wider shell form at the hinge, an ornamental floral spray at the base, a pinecone finial at the bottom, and bead course along the interior edge. The plate is signed and numbered.
Project for an Altar
, 1750–80
Pen and black ink, brush and wash on white laid paper
Drawing

Elevation of an altar shown within an arch. At top, a broken pediment with angels holding festoons. Below, within a tablet is a radiant crown within a wreath. On either side, sculptures sit on an entablature. An undecorated tablet at center, flanked by engaged columns and pilasters.
Study of Child's Head
, late 18th century
Red chalk on paper
Drawing

Study of child's head shown from the frontside, gazing down. The outline of the figure's left shoulder is shown in profile. Verso: blotter of drawing of child's head (1921-22-1).
Design for a Candelabrum
Jean-Louis Prieur the Younger, French, 1759 – 1795, 1780-1790
Pen and ink, brush and watercolor, graphite on paper
drawing

Plan of the decoration of the base from the top. Marble with bronze mounts of wreaths and leaves, rosettes.
Design for a Coffered Ceiling, with the Muses
Charles de Wailly, French, 1729 – 1798, ca. 1780
Pen and brown and black ink, brush and rose, gray, blue and brown washes, graphite onwhite laid paper, lined
Drawing

The depicted part of the ceiling shows nine coffers of various shapes (rectangular at each corner, two oval, two octagonal, and one round at the center).  Each coffer includes an image of a reclining female nude on a cloud.  There is a decorative border between the coffers.