biglam/cooper-hewitt-alt-text huggingface dataset:
Ice Cream Fork from Rockledge Service
George Washington Maher, American, 1864–1926, 1911–12
gold plated, silver
fork

1995-49-1/12: Of "Martelé" silver, the handle decorated with a n...;     1995-49-1: Dinner knife, part of flatware service designed in...;     1995-49-10: Teaspoon, part of flatware service designed in "Ma...;     1995-49-11: Soup spoon, part of flatware service designed in "...;     1995-49-12: Demitasse spoon, part of flatware service designed...;     1995-49-2: Luncheon knife, part of flatware service designed ...;     1995-49-3: Butter spreader, part of flatware service designed...;     1995-49-4: Dinner fork, part of flatware service designed in ...;     1995-49-5: Luncheon fork, part of flatware service designed i...;     1995-49-6: Salad fork, part of flatware service designed in "...;     1995-49-7: Ice cream fork, part of flatware service designed ...;     1995-49-8: Table spoon, part of flatware service designed in ...;     1995-49-9: Place spoon, part of flatware service designed in ...
Fragment
, late 17th–early 18th century
linen Technique: needle lace

Fragment of a band with fantastic floral shapes.
Wall Elevation
James Byres, 1815–22
Pen and black ink, gray and black watercolors on laid paper
Drawing

Horizontal rectangle. Side wall with fireplace center, doors flanked with chairs to left and right, a sculptured bust above each door.
Study of Standing Female Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Standing female figure, partially draped from the waist down, holding a board in her left arm. Head tilted toward left and looking upward.
Standing Turkish Lady
Alfred Boilot, French, 19th cenury, after 1887
Etching on vellum
Print

A standing Turkish lady, facing frontally, with a water pipe beside her. She stands on a small rug. Remarque of a twig with blossoms.
Sampler
Catalina de Aranaga, 1832
cotton embroidery on linen foundation Technique: embroidered using cross, foursided, and running stitches

Small sampler with central square filled with embroidered objects i.e. rider on horseback, man walking a dog, floral forms with birds, man picking fruit, two men fishing, a fountain, small building, and a heart surrounded by a band of writing: "LO. HIZO. CATALINA. DE. ARANAGA. SIENDO DICIPOLA. DE. LA. SA MAESTRA DA MARIA. DE ACHOTEQUI. EN LA EDA DE 10  ANOS ANO DE 1832."

Translation: "Made by Catalina de Aranaga under the instruction of her teacher Senora Maria de Achotequi. Aged 10 years. In the Year of 1832."

Surrounded by wide borders - two of which are the same but the colors are reversed.  All embroidered in red and blue on white background.  Except for very narrow borders and some writing, all executed in cross stitch.
Design for Grotesque Ornament
Jean Berain, the elder, French, 1640-1711, ca. 1680
Etching and engraving on white laid paper
Print

Symmetrical pattern filled with airy grotesques arranged in two sections on sheet. Upper portion shows a jester seated on a throne under an arched lattice trellis. The lower section shows two medalions with cherubs, each flanked by seated figures. Additional ornament includes strapwork, lambrequins, acanthus tendrils and fanciful creatures.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Three sketches of a male figure's legs, in walking posture, wearing tights.
Design for the West Wall of the Music Room, for Brighton Pavilion, Brighton, England
Frederick Crace, English, 1779–1859, ca. 1817
Brush and watercolor, gouache over traces of graphite on white wove paper
Drawing

Elevation of west wall, with the two large wall paintings of bamboo trees and pagodas flanking the fireplace. The wall panels are flanked by paintings of Chinese columns entwined by serpents. The coved section is shown above on separate piece of paper, with three lozenge-shaped painted glass panels. Alternative design painted underneath.
Drawing
Johannes or Jakob Stauffacher, Swiss, b. 1850 or 1860, late 19th century
Brush and gouache on cream paper, mounted on cream paper

Bunch of darkly-colored wild flowers on black ground.
Fragment
, 16th–17th century
Technique: withdrawn element work

Fragment of a border with a curving floral vine.
Fragment
, 1400–1532
wool Technique: plain weave with discontinuous weft (slit tapestry)

Fragment of a mantle with two wide patterned bands, one brown, one ocher, separated by narrow stripes of solid pink, brown and ochre. The patterned bands are divided into small rectagles by a grid of red, with large star-like stepped motifs in pink, tan and off-white.
Plate 5, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants with strapwork. At left, two nudes flank a faceted rectangle. Below, a mask and a drop pearl. At right, two ignudi flank a portrait medallion. Above, a mask. Below, a pear-shaped pear.
Law, Nude Study for "Contemplative Spirit of the East," Lunette in East Grand Staircase, Minnesota State Capitol, Saint Paul, MN
Kenyon Cox, American, 1856–1919, 1904
Graphite on cream laid paper
Drawing

Nude woman seated, looking towards the left over her shoulder, her body turned to the right. Her right leg is crossed over her left.  A staff rests on her left shoulder, and her left arm is raised.
Sidewall
, 1880–1900
Machine-printed

Vining floral design, with red and lavender poppies and blue flowers. Printed on white ground.
Cruet Set
, 1765
silver, glass
cruet set

Silver cruet stand for five cruet bottles with a handle and three feet. The handle extends from the center of the stand with a stem shaped as a twisted rod and cardioid-shaped ring. The body is flat with ring-shaped holders for the bottles.
Legislation, Cartoon for Mosaic in Wisconsin State Capitol Rotunda
Kenyon Cox, American, 1856–1919, 1912
Charcoal and graphite on tan paper
Drawing

An allegorical figure with a beard represents Legislation, holding a stylus in his right hand. He is seated by a sphinx, a symbol of wisdom. Roundel outline around figure.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

On brown ground, treillage composed of white flowers on rinceaux, with large medallion made up of lavender scrolls and clusters of white flowers and green leaves in anthemion shape.
Border
, 1810–35
Block-printed on handmade paper

Wide band of fruit with narrower band of architectural molding beneath. Printed in grisaille green ground. Printed two borders across width.

H# 668
Pleated fan and case
, late 19th century
Silk leaf, carved wood sticks

Pleated fan. Black organdy leaf. Guards and sticks of black wood, delicately carved on obverse with all-over flower and scroll motifs. Guards also decorated with a cartouche incised with quatrefoil and trefoil motifs. Box covered with maroon imitation leather with gilt tooling, marked: Tiffany & Co. Made in France
Panels
, late 18th century
silk, metallic thread Technique: twill weave with supplementary weft

Three panels of narrow lengths of dark blue twill weave silk with a large pattern made of opposing curves, known as tate-waku, woven in gilded paper, framing large open flower heads in white, pale green and gold. Veins in flowers and centers in gold. Material probably intended for a coat.
Sidewall
, 1650–99
Leather, silver leaf, varnish

Leather wallcovering. Flowing acanthus garlands and fruit and flower-laden swags, includes a large bird perched, possibly an eagle, smaller birds, snail, and a monkey picking berries. Also ribbon and bow knot. Relief in very warm metallic gold against deep slate blue ground.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style)

Border of square compartments filled with repeated floral form and edged with narrow border of zigzag design at either side.
Dessert Dish
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 19th century
hard paste porcelain, vitreous enamel, gold
dish

Oval plate with scalloped edges, partially gilded with floral relief ornament.
Ceiling paper
F. E. James Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

On taupe ground, scroll motifs composed of brown scrolls in circular shape outlined in red, red dots, an surrounded by white scrolls outlined in light green brown; smaller brown floral motifs with red dots and outlined in red in spaces.
Two Views, Landscape and City Skyline
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Left, river running between bluffs, vegetation in the foreground. Right, city skyline.
Semi-Draped Female Figure
, 1650–70
Red chalk on paper
Drawing

A semi-draped reclining female nude, her right arm over head, and resting her chin on her left fist. Below, partial study of the same figure. Probably copies from antique statuary.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Two bands of a repeating design which proceed in opposite directions and which are reversed. Composed of a continuous floral mountain and valley chain, interrupted by a similar but opposite chain and ground having an oriental branch-like overlay bordered on the bottom by a continuous lotus-bud abstraction and on the top by inverted v's and horizontal strips. Printed in white, mica, greens, lavendar, yellow, pink and red.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller or block printed on plain weave; glazed

Two pieces, same design, different colors. A) ground printed by "molette" in minute grey zig-zag, leaving white areas through which pass a design of long interlace in brown, forming trellis pattern. Clusters of little flowers in red (strawberry) blossoms and green foliage printed within trellis pattern, possibly by block or surface roller. B) same design, but interlace in blue. Glazed.
Textile
, 18th century
cotton Technique: resist printed on plain weave

Coarse white cotton printed in blue in a design of scrolling foliage and pomegranate arranged in an allover pattern. Throughout the design is furthur ornamented by small white dots emphasizing the line of growth or providing extra interior decoration. No selvages.
Charge of the First Massachusetts Regiment on a Rebel Rifle Pit Near Yorktown
Winslow Homer, American, 1836–1910, May 17, 1862
Wood engraving in black ink on paper
Print

Charge of Union soldiers, seen from the rear. Lower half of the page.
Ceiling paper
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Machine-printed

Floral sprigs and foliette sprigs, randomly joined in non-directional manner. Printed in yellow-green with gold floral highlights and gold dots, on light yellow-green ground. Printed in selvedge: "A.W.P.M.A."
Textile
, ca. 1760
linen warp, cotton weft Technique: block printed on plain weave

Handblocked textile in an incomplete floral pattern in madder colors of red and brown of floral sprays. Elaborate picotage background in red, and in sepia, a picotage design of windmill and flowers.
Fragment
, late 16th–early 17th century
silk and metal Technique: velvet

Tiny tri-lobed leaf repeat in moss-green cut and uncut velvet closely set on tan cloth ground originally run through with strips of metal.
Urn
, ca. 1735
Tin-glazed earthenware

On molded foot a bell-shaped body with heavy gadrooning on lower part. Flaring neck and mascaroon handles. Underglaze cobalt lambrequin and scroll decoration at neck and foot. Body shows floral swags and a large coat-of-arms with three stag antlers (attires) below crossed keys, crested by five-point crown, helmet and four-de-lis, helbard, flags and smoking cannons. All on vertical hatching indicating the color red (gules).
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Art nouveau design. Alternating large and small stylized flowers with base. Foliate and stylized scrolls interconnect. Brown and metalic gold stripe and blue beading on top.  Printed in yellow, green, brown, white, and metalic gold on green background.
Puppet
, 19th century
Carved and painted wood, batik textile

Male figure in long skirt, naked to the waist. Pink face with black moustache and beard; gold, black, red green and cream head-dress. Arms with articulated elbow. All flesh except face painted in gold. Green band at waist.
House — Sobantes
Arnold William Brunner, American, 1857–1925, 1891
Graphite on paper
Drawing

House in spain, foreground, another one beyond, left; vegetation at right
The Golden Tiffany
Sears, Roebuck and Co., founded 1886, 1914
Machine-printed and embossed paper
Frieze

Blocks of foliage with flowers growing out from woody trunk. The bottom half of the frieze is striped. The background is printed with irridescent pigments inspired by Tiffany favrile glass.
"Cairo 93"
, ca. 1893
Patinated brass
Matchsafe

In the form of a mummy figure with simulated bandages wrapped around entire circumference of box. On front, the nose, mouth, and a hand are partially visable through bandage strips, inscribed "CAIRO 93" on two lower strips respectively. Lid on upper section, or the head and shoulders, hinged on right. Striker on bottom.
Plate in Nouveaux Livre de Paysages (New Book of Landscapes)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

At the center, there is a large tree, under which sits a woman holding out a pan for water, next to her, a second woman waiting to fill her amphora with water from a waterfall on the left. The background is composed of architecture and people throughout.
Sampler
Anne Goddard, American, 1832
silk embroidery on wool foundation Technique: embroidered in counted cross and satin stitches on plain weave foundation

A verse and inscription at the center are surrounded by scattered trees, flowering trees, birds and rabbits. With a narrow strawberry vine border. The verse reads:
I would like Enoch walk with God
In Fellowship divine
And tread the pilgrim's lowly road
And in his image shine
Frieze
, 1905–1915
Machine-printed paper

Alternating large and small green medallions, each having deep red center. Large medallions contain fleur-de-lis. Small fleur-de-lis repeat across background, which shades from darker at the bottom to lighter at top.
Fragment
, 18th century
linen Technique: needle lace

Fragment of elaborate coral shapes. Pattern outlined by cordonnet and connected by brides picotées, interspersed by portes and gaze quadrillée.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Trelllis or grid pattern with the lines formed by little boxes or squares. A cross or quatrefoil motif appears at the intersection of lines. Printed in tan, yellow, and metallic gold on a honeycomb-patterned tan background.
Textile
, 18th century
silk, metal-wrapped silk thread Technique: compound satin with supplementary weft

Large pomegranates and baroque scrolls are decorated with colorful small blossoms in shades of blue, rose, pink and green.
Self-Portrait of Anthony van Dyck
Anthony van Dyck, Netherlandish, 1599 – 1641, 1720
Etching on paper in black ink
Print

On a pedestal stands portrait of van Dyck. It is conceived as a sculptured figure, seen from back with the head, turned over the right shoulder, in side view.
Border
, 1815
Block-printed on handmade paper

Classical motif. Architectural molding with central scolling band. Demi-loon floral boss below with acanthus motif above. Printed in yellow and shades of yellow ocher. Printed on gray ground.
Border
, ca. 1790
Block-printed on handmade paper

a,b) Incomplete repeat showing pink roses with green leaves and part of a vase form; c) white flowery forms (part of the above paper) with grisaille and brown flock border attached;d,e) grisaille and brown flock border like one in "c".
Navalis praelii adspectus (View of a Naval Battle)
Hand-colored etching on paper; verso: fabric
Bound print

Perspective view of a naval battle scene. At center, a large ship is engulfed in vibrant flames, with smoke billowing from all sides. Two figures are shown falling off the sides of the vessel, with many more scattered in the waters surrounding the ship. Several wooden lifeboats line the right side, pulling figures from the water into their boats with rope. At left, the front half of another ship is vislbe, with a figure clinging to the main mast and another figure helping pull a man out of the water. More ships fill the nearby waters, several surrounded by smoke. A hilly shoreline is visible along the horizon, and a blue sky fills the top margin. Printed along bottom margin: Navalis praelii adspectus / Veduta d'una Battaglia di mare.

Verso: Patches of colored fabric. Printed label: Prospect eines See=Treffens.
LA MUSIQUE
Jean-Charles Delafosse, French, 1734 – 1789, 1772–77
Crayon-manner etching in red ink on laid paper
Print

Design for an ornamental hanging trophy featuring musical instruments. The trophy includes, flowers, leaves, ribbons, bells, sheet music, a trumpet or horn, guitar, flute or pipe, and a triangle. The plate is titled, numbered, and signed.
Cartouche with Valley Landscape
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Design for symmetrical upright cartouche topped by a mask with dragons at lower left and right. Within the frame, a landscape scene of a valley between two mountains, a small town or village indicated by buildings in the distance.
Design for a Painted Ceiling
Francesco Saverio Mergolo, Italian, 1746–1786, 1770–1800
Brush and black wash, black chalk on paper
Drawing

Octagonal.  A cupid sits upon clouds, raising with his right hand a burning heart.  At right are two heads of cupis.  Framed as a horzontal ovoid.  Squared.  On verso are accountings
Adoration of the Magi
, ca. 1525
Carved walnut
Figural Group

Virgin seated at left, with child on her knee. One of the kings kneeling before the child, three figures ranged across back of group.
Mountains at Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing distant view of a mountainous landscape in Jamaica, likely in the Blue Mountains, with mist and billowing clouds at sunset. Branches and treetops at bottom foreground rolling hills in middle distance, which are rendered in shades of green and brown and are surmounted by mist. Green mountain range in distance is backdropped by clouds variously enshrouded from and illuminated by the light of the setting sun.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1893–1903
Brush and gouache on paper
Drawing

On tan ground, vertical empty box at center; surrounded by frame of green leaves and purple-black berries.
March Winds and April Showers
Winslow Homer, American, 1836–1910, April 2, 1859
Wood engraving printed in black ink on paper
Print

Two horizontal pictures on upright page:  Upper shows a sidewalk with pedestrians whose clothes are being blown by wind, and the lower shows another sidewalk, with buildings, traffic in the street, and promenaders walking in rain.  Four columns of verse divide the two pictures.
Embroidery sample
, 1790–1800
silk Technique: embroidered on cut voided supplementary warp pile in a compound foundation (velvet) Label: Satin, stem, and knot stitches embroidered in silk and chenille on silk cut voided supplementary warp pile (velvet); paper enclosure

Multicolored silk embroidery in a floral design on a blue ground with green vertical stripes.
Vuë de l'entrée du Port de l'Orient (View of Entrance to Oriental Port)
Chez Basset, French, 
Hand-colored etching on paper; verso: fabric adhered with mesh
Bound print

Perspective view of an Eastern port, featuring a round citadel topped by a red flag. The windows on the citadel and several openings on the bridge are cut out, with colored fabric and mesh visible through the openings. A stone bridge extends in front of the structure, and several watercraft float in the ocean waters. At front left, a small boat approaches the shoreline, with two figures working to dock the craft. A ship with rolled-up sails floats at right, and on a nearby rocky outcropping, a small figure sits fishing. Printed along  bottom margin: Vuë de l'entrée du Port de l'Orient / A Paris chez Basset rue St. Jaques a Ste Genevieve

Verso: Patches of colored fabric, visibly attached with pieces of mesh.
Design for a watch chain and two bracelets
Augusto Castellani, Roman, 1829 - 1914, ca. 1870
Graphite, brush and pale yellow wash on white wove paper
Drawing

Three jewelry designs, each below the other. The watch chain has three balls connected by thin pieces of chain. The first bracelet has six sheild-like disks connected by joints. The second bracelet has a center section inscribed "VBI AMOR / IBI ANIMA."
Design for a Brooch
, 1830
Pen and ink, brush and sepia on paper
Drawing

A circular escutcheon composed of scrollwork, containing a round diamond. Below, a pearl drop.
Plan et Coupe du Château de Montmusard, batie pour Mr. Voyer Dargenson par de Wailly Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a chateau with a sectional view of the interior and a floor plan below. The chateau features neoclassical motifs, a central dome with a coffered ceiling and rosettes, columns, friezes, decorative paneling and statues in niches. The plate is titled, numbered, and signed.
Mausoleum in a Park
Antonio Amorini, ca. 1825
Pen and black ink, brush and gray wash on wove paper
Drawing

Elevation of a horizontal, one-story structure with six Ionic columns in the center.  On either end of the building sculptured figures are positioned against solid walls and below wall inscriptions; another group of figures in positioned on the roof of the monument and at the center, above the colonnade.  The group is contained within a large semicircular arch decorated with a floral pattern.  There is an inscription on the wall below the central sculptural grouping.  There are trees located next to and behind the monument.
Reflections on the Königssee at Twilight
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on blue wove paper
drawing

Landscape sketch showing a view of the Königssee's mountains shoreline mirrored in the waters of the lake. In the foreground, placid water extends to the shore and reflects the various slopes and forms of the wooded mountainside above.
The Seven Ages of Man, Illustration for Publisher's Weekly (XXVI, No. 668, November 15, 1884, p. 138)
Frederick Stuart Church, American, 1842–1924, 1883-1884
Etching on paper
Ephemera

Center, woman in long cloak and bonnet cradling infant, standing on tree branch. Infant in long white christening gown and bonnet, stares at mother. Upper left, outline of moon.
Brisé fan
, 19th century
Carved and pierced ivory sticks

Ivory brisé fan carved and pierced to resemble lace with figures, boats, houses, trees. Guards carved in high relief.
Design for Rococo Ornament
P. Ludovik, French?, active mid 18th century, 1768
Etching on laid paper
Print

Design for rococo ornament featuring rocaille scrolling leaves, cartouches, shells, festoon of leaves, a quiver with arrows and an urn in the center decorated with gadrooning and leaves. The plate is signed and numbered. Drawing without text, in reverse at Waddesdon Manor, The Rothschild Collection (National Trust), acc. No. 1327, cat. No. 219k.
Design for a Door Case
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below is the door opening with a molded frame. Above is a rectangular frame with a female figure, with a bird in her lap, upon clouds; possibly "JUNO" with the peacock. Beside, at right, parts of the dado and the panel of the wall.
Buttons
, 19th century
gold-plated brass

double shield showing two coats of arms [at left, hearts and vertical stripes, at right, three five petalled flowers] lion supporters standing on scrolled leaves; above, a crown.  On reverse, "Superior France."

Component -a is on Cooper Union Exhibition card 5
Component -d is on card 45