biglam/cooper-hewitt-alt-text huggingface dataset:
Interior of a Salon
Vladislav Dmochowski, Lithuanian, 1840
Brush and watercolor, gouache on paper
Drawing

This salon was probably located in a house in northern Europe. The ceiling motif of musical instruments suggests that the salon was intended for a music room. Intricate ceiling and wall moldings reflect Neo-Classical and Rococo motifs.  Moresque influence is seen in the tablecloths, screens and rug, this last partially-viewed in the foreground. Comfortable furniture, potted plants, the grouping of small pictures on the right wall and fringed white tieback curtains create a Victorian room, curious in detail.
Sampler
, early 19th century
silk and cotton embroidery, linen warp, cotton weft Technique: embroidery in satin and stem stitch, withdrawn element work.

Oblong sampler worked in browns, blues, greens, yellows, red, pink, and white silk on a white linen ground.  At the left edge, a small panel of withdrawn element work.  At the right end, vertical bands of whitework floral borders in satin and stem stitches. In the center, colored silk work in satin stitch of an urn of flowers, a bird with a garland in its beak, a monkey feeding a bird, and flower and vine borders.
Border
, 1880–90
Manchine printed on paper.

Twisted ribbon and rose design with band of circles along top and bottom edge.  Ribbon has gold floral motifs, and large yellow rose alternates with smaller red flowers.
Album of Ornament Prints Representing the Five Senses
François-Thomas Mondon, French, 1709 – 1755, ca. 1736-55
Album

Album with a series of ornament prints representing the five senses with figures and ornament in landscapes. The plates are titled and signed.
Fragment
, 16th century
silk Technique: supplementary warp pile (velvet)

Fragment of dark magenta cut velvet against white background in rows of repeated "S-shaped" pattern forming columns.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto continues the description of the Wedding Temple erected at the Place Dauphine as part of the festivities held on February 23, 1745 in honor of the wedding of Louis Dauphin and Maria Teresa of Spain. The verso begins the description of the temporary hall erected at the Place Louis le Grand symbolic of Spring.
Study of Ocean at Night
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves coming onto beach, outcropping of land at right in far distance, crescent moon in top left.
"Assyrian Head" Pattern Punch Ladle
Meriden Silver Plate Company, Meriden, Connecticut, 1869–1898, 1885–86
silver plated, metal
ladle

Oval shaped bowl, decorated with radiating scrolls on bottom half, forming reeded surface on obverse and fluted service on reverse side, and scalloped edge on both. Narrow neck and stem, decorated with diagonal reeding halfway down handle, meeting setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Terminal of slightly rounded rectagular shape, with subtle upturn. Reverse side of handle devoid of ornamentation, with plain polished surface.
Brisé fan
, ca. 1840
Lacquered and gilded wood sticks, silk ribbon

Brisé fan. Black and gold lacquered wood sticks. Delicate, all-over decoration encloses a panel depicting a garden scene with figure groups. Ends of sticks decorated with different vignettes of figures and foliage. Details in red. Guards decorated with ground of flower and lantern forms, and vignettes of figures.
Textile
, 18th–19th century
silk Technique: double cloth

Horizontal-vertical repeat of rosettes enclosed in large elaborate medallion on diapered ground, on which are also spaced small rosettes and small rectangles enclosing prancing dragon.
Eight Urns
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pencil, pen and brown ink with gray wash; verso: pencil, pen and brown ink and brown wash
Album page

Vertical rectangle.

Recto: Eight urns of quasi-classical or Baroque design, of which two are included in Suite III, plate 7; two in in Suite V, plate 1, and one in Suite XII, plate 1. 

Verso: Vertical rectangle. Two flying putti holding a blank shield surmounted by a crown. Below, a rendering of the left foreground group of figures in Raphael's "Disputa" fresco in the Sala della Segnatura of the Vatican. 

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Imperial Presentation Box with Napoleon III's Cipher
Alexandre-Gabriel Lemonnier, French, 1808 - 1894, ca. 1855
gold, diamonds
box

A gold box with a personalized lid. The letter "N" in each of the lid's corners in diamonds. The center of the lid is decorated with another larger letter "N" in diamonds with a diamond crown above the letter. Along the sides of the box there is an abstract design carved in gold.
Floor paper
W.N. Peak, Brooklyn, New York, 1880 - 1900, 1875–1906
Machine-printed paper

Printed three across: wood grain design of parquet flooring. Circle within a square alternating with a diamond shape. Strung beads run along either edge of borders.
Advertisement for "Atlas Ready Mixed Paint"
Whitehead & Hoag Company, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, curved top and bottom, featuring black printed decoration of paint can with variying type face and decorative motifs, inscribed "Atlas Ready Mixed Paint, Manufactured by George D. Wetherill & Co., 114 North Front St., Philadelphia", inscribed below can "White Lead, Zinc White, Pure Colors. All Painter's Supplies." Inscribed in fine print below "The Whitehead & Hoag Co., Newark, N.J." Reverse features image of Atlas with globe on his back and cherubs flying about with brushes and paint cans, inscribed "Established 1807. Incorporated 1896. We Must Cover The Earth with Atlas Paints. Geo. D. Wetherill  Co. Inc., Philadelphia." Side panel inscribed "Atlas Paint Is Guaranteed", opposite side panel inscribed Geo. D. Wetherill & Co's Pure White Lead, $1000 Guarantee." Lid hinged on side. Striker on bottom.
Sampler
Isabell Lawry, 1686
silk and linen embroidery on linen foundation Technique: embroidered in cross, long armed cross, satin and eyelet stitches on plain weave foundation; bands of withdrawn element work with needle made fillings (reticella); overcasting creating areas of deflected element work

Alphabets and verse "When I was young I little thought that witt must be so dearly bought," signature and band of reticella.
Frieze
Lewis Chase Wall Paper Company, Bristol, Pennsylvania, USA, 1907–1915
Machine-printed paper

Mission style. Borders printed two across (mirror). Alternating large and small foliate medallions connected by follate scrolling and stylized red ribbons. Bottom has green, tan and brown bands. Top has green and tan stripes and a tan line with intermittent beads. Background of small black dots and irregular, horizontal red blotches. Ground shades pink to light yellow. PRinted in reds, pinks, tans, greens and purple. Printed in selvedge: "Chase Print" pattern number "502"
Sidewall
, 1845–70
Machine-printed on machine-made paper, ungrounded

Bouquet of red roses, set within wreath, tied with lavender ribbon at bottom. Printed on a gray background with diamond trellis design of beading.  On white ground.
Recto: The Month of April (Figures in a park near a castle); Verso: Youth from The Three Ages of Man (?)(Merry-makers)
Pieter Coecke van Aelst, Netherlandish, 1502 – 1550, ca. 1540
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Recto: A woman is seated near a body of water surrounding a castle, attended by other women. To the left, herdsmen are seen with their animals. In the distance is a village.
Verso: A group of people revel, gamble and are shown making love.
Fashion Plate from Le Mercure des Salons, Modes de Paris
, 1830
Wood engraving, brush and watercolor on paper
Print

Two women in white dresses and bonnets. One stands left, with pink and yellow trim; the other sits right, with blue ribbons on the dress. Title above and below.
The Syndics of Drapers
Karl Köpping, German, 1848 - 1914, 1887
Etching and drypoint on paper
Print

A group of six merchants are before a table spread with a rug. Two hold a book open before them. Inscribed, upper right: "Rembrandt f. 1661."
Sidewall
, 1838
Block-printed

Garlands twist about a column as the main motif. Two red garlands and one green garland can be seen, though the other colors have faded. At the right a vertical band has cartouches in green and faded purple.
Border
, 16th–17th century
linen Technique: needle lace (reticella)

Border with triangular tabs of reticella in an Italian style, but probably made outside of Italy.
Frieze
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper, liquid mica

Design of scrolling acanthus foliage, changing in color from green to deep red to yellow ocher. Strung beads across bottom edge.
Figures from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Group of figures from the right side of The Last Judgment by Michelangelo.
Textile
, ca. 1795
cotton Technique: block printed on plain weave

A half-drop multicolored floral stripe of two medallions, one above the other, tilted in opposing diagonals and containing flowers. The medallions are supported by scrolling brackets. Stripes divided by narrow stripe with motif resembling peacock feathers. Background is yellow. Two blue warps in left side of component "a."
Declaration of Independence
, ca. 1778
cotton Technique: copperplate printed on plain weave
Bandana

Commemorative bandana of the Declaration of Independence with signatures and surrounded by seals of the thirteen states and portraits of Washington, Jefferson and Adams printed in deep red on yellow. In the lower corners are scenes of the Boston Tea Party and General Burgoyne's surrender to General Gates at Saratoga.
Brisé fan
, late 18th century
Carved, pierced and painted ivory sticks, faceted stone at rivet, silk ribbon

Brisé fan. Carved and pierced ivory sticks with painted central shield showing a girl and lamb. Carved guards with figures. Faceted glass at rivet. Silk connecting ribbon. Possibly inspired by a painting by Angelica Kauffman (Swiss, 1741-1807) entitled "Innocence."
Sidewall
Robert S. Hobbs & Co., Brooklyn, New York, 1905–1915
Machine-printed paper

Stylized carnation flowers in central column with scrolling foliage interspersed with scattered  flowers on either side.
Sash
, 19th century
silk and metal-wrapped silk on cotton Technique: uncounted stitches; satin and double running stitches on plain weave; foundation has a crepe effect due to over twisted z-spun yarns used for warp and weft

Sash with identical ten inch high embroidered border at each end. The border consists of two five-inch wide repeats of a flowering plant in shades of red, green, blue and metallic silver. The lower border, about one inch high, is a three-inch repeat of a curving vine.
Maisaka, Imaki Point, 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

Right to center, Imaki Point, a group of rugged peaks, juts out. Right, white peak of Fuji. Around rocky shore are small fishing boats. Lower right, sails of three boats. Lower left, stakes.
Fragment
, 18th century
linen Technique: bobbin lace, Brussels style

Small fragment of a leaf in the "bizarre" style.
Knife with Porcelain Handle (Paired with Fork)
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1730
soft paste porcelain, vitreous enamel, silver, steel
knife

Leaf-shaped blade, almost straight edges, plain bolster. Silver ferrule with horizontal bands. Tapering white porcelain handle with dark blue floral and scrolled decoration. Silver button cap at the top of the handle.
Two Sketches, Corbel and Waterfall
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite and white heightening on brown paper
Drawing

Left, brook, water falling over rocks into a body of water, trees behind. Right, wooden corbel of face.
Designs for embroidery
, ca. 1890
Black crayon on tracing paper
Drawing

Designs of abstract floral patterns for panels and borders. Each drawing stamped at top: "Dessin original a broderie." Designs numbered 183 (N)
Sun over Waves and Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Quick sketch of waves crashing on cliffs, at right. Dark sky with dramatic sunburst.
Tea Bowl and Saucer (One of a Pair)
Royal Worcester, English, established 1751, late 18th century
soft paste porcelain, vitreous enamel, gold
tea bowl and saucer

Tea bowl on high foot and a high-side saucer. Molded ribbing and scalloped edge. Overglaze polychrome floral swags. Gilding at rim.
Parchment with unfinished needle lace
, 17th century
linen, parchment Technique: needle lace (loop and twist) in a variety of stitches and a variety of combinations of open and closed areas

Long strip of parchment with design drawn onto it in ink. The outline of the design has been sewn onto the parchment with linen thread and about half of the needlelace has been filled in.The design is of curving floral sprays. There is no repeat in the width but it appears as if the designer intended this to be one unit of the repeat as sketchy drawing at the far end repeats the shapes at the beginning.
The parchment arrived in a small cloth handmade bag (recently made) of 17/18 century silk damask and metallic bobbin lace.
Fiddler at a Punch Party
Benjamin West Clinedinst, American, 1859–1931, 1895
Ink on paper
Print

Trial proof for illustration. In a colonial kitchen with a punch bowl on a table before an open fire, servants listen to a young man performing on a violin.
Sampler
Mary McIlroy, 1852
silk embroidery on cotton foundation Technique: embroidered in cross stitches (cross stitch is looping, backward movement type) on plain weave foundation

Upper third has a religious verse; lower two-thirds spot motifs and the inscription in a floral wreath. Surrounded by a flowering vine border on all sides. 
The verse reads: 
Poor, weak and sinful though I am 
I have a rich Almighty Friend
Jesus the Saviour is His name
He freely loves, and without end

He found me wandering far from God
And brought me to his chosen fold
Redeemed me with His precious blood
And with His power my foes controlled

He cheers my heart my wants supplies
And says that I shall shortly be
Enthroned with Him above the skies
Oh! what a Friend is Christ to me!

Oh where are those mansions of light
That home, ever happy and fair
That land where the days are all bright
Unsullied by sorrow and care

Far far from this valley of tears
The Saviour has gone to prepare
Those mansions, and when he appears
His people shall dwell with Him there

Oh happy and glorious 'twill be
To meet in those mansions above
From sin and from sorrow set free
All perfect for ever in love!
Frieze
, 1905–1915
Machine-printed paper, ungrounded

Printed two borders across the width. Stylized tulip motifs, group of three alternating with single tulip. Scrolling framework above and below.
Design for a Painted Porcelain Serving Vessel, Les Glaces (Ice Cream) from the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain serving vessel, rondel. Scene in kitchen of an ice cream restaurant.  Several shelves of molds and implements for making ice cream, upper right.  A figure of a woman, center middleground, holds a cup of ice cream.  A young girl, to her right, offers a spoon of ice cream to a boy; another boy raises his hands with obvious delight.  A woman [?],right middleground, fills an ice cream cone while another woman, behind her, works with a mold.  A waiter, left middleground, carries a tray of ice cream through an archway towards a table of customers, left background, seated under a structure covered with a striped awning.
Depart pour le chasse
F. Pieters, ca. 1810
cotton Technique: printed by engraved roller on plain weave foundation
Fragment

Two scenes arranged horizontally; the first of a cart drawn by two horses carrying four hunters with dogs and three attendants walking alongside; the second of hunters and dogs at work in a marsh and in the fields. In red on white.
The Inaugural Procession at Washington Passing the Gate of the Capitol Grounds, from Harper's Weekly, March 16, 1861, p. 161.
Winslow Homer, American, 1836–1910, November 16, 1861
Wood engraving in black ink on newsprint paper
Print

Vertical view showing an open carriage moving toward the left with Lincoln and Buchanan seated in it.  Crowds are visible in the foreground as well as mounted soldiers, and men are seated on the gateposts in the background, with a portion of the Capitol building visible in the extreme background.
Textile
, 18th century
cotton Technique: printed by engraved copper plate on plain weave

Fragment, cream white cotton printed in red, copper plate. Incomplete design: Castle or towered gate, village beyond. Approach by winding road over water; horsemen, herald with trumpet. Foreground part of group, cart drawn by horses. Other personages and groups.
Knife
, 17th century
Steel, brass, horn, bone

Wide steel blade, slightly up-curved lower edge, angled end, pointed. Tang with button end. Handle eight-sided. Brass scales on major plane engraved with wriggle work; four sides of bone; two exposed tang sides. Handle end with 24 laminated sections of tri-color horn and brass plates. Plain brass end.
Border
, early 19th century
linen, cotton Technique: needle lace

Border edged on one side by a serpentine garland of floral sprays.
Sidewall
Frederick Beck & Co., 1860, 1860–1900
Machine-printed and embossed

Large-scale floral bouquet in urn motif, alternating with smaller urns. Urn and floral motifs are embossed to replicate stamped gold. Printed in metallic gold on off-white background simulating moire.
Miser's purse
, 18th century
silk, steel Technique: knotted netting

Green silk purse in knotted netting ornamented with cut steel beads in a pattern of narrow bars and small geometric repeats.  Two steel rings at side closing. A different acorn-shaped drop at each end.
La Couseuse (The Woman Sewing)
Jean-Francois Millet, French, 1814 – 1916, 1855
Etching in dark brown ink on cream-colored paper
Print

A peasant woman sits near a diamond-paned window, right, sewing a shirt. Her implements rest on the window sill.
Skirt fragment
, late 18th–early 19th century
silk Technique: cut and uncut supplementary warp pile in a satin foundation

Skirt fragment in all black with a pattern in cut and uncut pile. Narrow decorated vertical stripes on ground scattered with tiny sprigs. Deep hem decoration of symmetrical scenes of fishing figures on either side of a stream swirling under a double-arched bridge alternating with dueling figures in front of allée of obelisks. Portico topped by coronet and with unidentified initials "LL" in background. Wide pink and yellow striped satin selvages.
Imaginary River Landscape with a Boat
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape sketch showing an imagined view of a lush river landscape. Reeds along the riverbank stretch across the foreground at the lower margin. A large tree with a full canopy in the middle distance at center, across the reflective and rippling river, which possibly opens at left to the sea. A small sailboat is visible on the water's surface at left while mixed foliage is shown at right. Puffy clouds hang in an otherwise open sky above.
Mountainous Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, 1890
Graphite on off-white wove paper
Drawing

Landscape sketch showing a loosely rendered view overlooking a mountainous landscape in Mexico. In the foreground at right, a possible mountainside descends toward the center. In the middle distance at center, an extremely loosely rendered expanse of dark trees is visible. Two immense, dark, and pointed mountain peaks loom over the somewhat indistinct scene.
Design for a Catafalque for Charles Emanuel III of Sardinia
Carlo Marchionni, Italian, 1702–1786, 1773
Pen and brown ink, brush and wash, black chalk on off-white laid paper, mounted
Drawing

Two winged genii, symbolizing death, sit on pilasters supporting a sarcophagus to Carl Emanuel III. Pedestals on either side support two candle brackets with burning candles and two putti. Above, a broken pediment supports a putto sitting at left and holding a medallion of the King. Two additional putti support the crown. All is adorned with festoons and swags. Below are groups of men, of whom one is extinguishing a candle and another is walking with new lights. At right, two women appear, one running and the other accompanied by a dog.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of lozenge shapes in green and yellow between green borders and a white ground.
Design for a Fountain in a Pavilion
Carlo Francesco Barabino, Italian, 1768 – 1835, 1785–90
Brush and brown, gray, and black wash, graphite on white laid paper, laid down
Drawing

The elevation is on top. The fountain has two basins; the upper one is supported by a short column. The pavilion consists of four arches with four obliquely disposed groups of supports, pairs of columns standing in front of walls. Above is a dome.
Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, March 13, 1892
Graphite on beige wove paper
Drawing

Landscape sketch showing a view of mountains in Mexico. A flat, grassy plain extends from the foreground and into the middle distance, where at least four distant trees are visible at center. In the background, foothills ascend to an immense, craggy mountain peak at upper center. One sharp peak is visible at center left, while the other, at center right, is obscured by clouds.
Veuë en Perspective des Cascades de Vaux
Israel Silvestre, French, 1621 – 1691, 1661–1703
Etching on laid paper
Print

View of the gardens at Vaux le Vicomte. Cascading fountains into a large deep basin of water with more fountains. To the left, a building with double stairs leading above to a balustrade level. Trees in the background and in the foreground framing the scene. Figures walking throughout the grounds along the paths. The plate is signed and titled.
Before an Army Hut
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Horizontal view of the doorway on an army hut, with the curtain drawn up revealing  part of the figure of a soldier seated within, and of a saddle hanging on a pole projecting from the hut.
Stage Design: Palace in Clouds
Girolamo Fontana, Italian, 1668 - 1701, 1690–1714
Pen and black ink, brush and gray-blue wash on white laid paper
Drawing

Richly decorated arcade leading to large staircase. Barrel vault supported on the right side by caryatids and on the left by twisted Solomonic columns. Composition framed by large billowing clouds.
Semy doubles et Bruyere
Charles-Germain de Saint-Aubin, French, 1721–1786, 1755-68
Etching on laid paper
Print

A bouquet of peonies and heather combined in a bouquet, with their stems tightly wrapped in ribbon. The plate is signed but not numbered.