biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Jane Skeate, English, 1788
wool and silk embroidery on wool foundation with linen edging tape Technique: embroidered in cross, half cross, and stem stitches on plain weave foundation

Large house at top center, fields, people in park and pond at the bottom with swans and boat.
August in the Country – The Sea-Shore
Winslow Homer, American, 1836–1910, August 27, 1859
Wood engraving in black ink on paper
Print

Figures on a crowded beach. One man holding up a live lobster.
Bratina with Tcharka Cups and Stand
Ovchinnikov Factory, Russia, 1853 – 1917, 1884
silver, gold
bratina, cups, stand

Parcel-gilt silver bratina with stand and six tcharkas, with lobed panels, each with various fantastic creatures .
Lidded bowl
, 19th century
Tinned and engraved copper

Bowl with lid, campaniform; lid surmounted by a paneled pointed mushroom-shaped knob. Body and cover decorated with wide engraved bands of inscription bounded by narrower bandings of diagonal lines.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Widely spaced, very small floral motifs printed in blue forming diagonal rows. Printed on light color ground.
Design for Textile
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Brush and gouache, graphite on white laid paper
Drawing

Shows a corner of a repeating design border. From left to right, a couple plays music, man in pink and woman in purple, sitting before a bush with colorful flowers; in the background, a body of water with some boats and an island with a castle in the distance; next, the couple plays with a dog; in the corner, the man offers the woman a flower, while she holds a box; lastly, the man holds a scroll and points it at the woman as she raises her hands. The border consists of areas of color, pink and purple and black with white zigzagging patterns.
Textile
, 18th century
silk Technique: plain weave with continuous and discontinuous supplementary weft patterning

Length of woven silk with bouquets of flowers and larkspur-like spikes, tied together by angular ribbon-like bands, in many colors on an off-white ground.
Book Cover
Jeremiah Draper, American, active 1800s, 1790–1800
Block print on laid paper
Book cover

A sidewall fragment was repurposed for use here as a book cover.  The sidewall design consists of two horizontal registers of running leaves and small floral motifs separated by a band of small, rectangular-shaped forest-green checkerboards.  The upper register of leaves is highlighted with white and black flowers.  The lower register is composed entirely of small black and white flowers on vines.  In its original use, the sidewall would have probably been oriented 90 degrees counterclockwise with the larger section on the left side of the fragment.
Two Members of Commodore Perry's Party, American Sailor and Soldier
Utagawa Yoshiiku, Japanese, 1833 - 1904, 1861
Woodcut on mulberry paper
Print

Standing American sailor and man with a stick. Lengthy inscription in Japanese at top and bottom right.
Aesop's Fable: The Fox and the Crow
, 1840
Block-printed paper, polished ground
Sidewall

Greek revival style. Central motif is a framed picture of Aesop's fable "The Fox and the Crow" on black background. Surrounded by medallions of fruits and flowers, trailing grape vines, Greek palmettes, birds, and scrolls. Printed in nine colors: orange, brown, black, lavender and blue on an off-white satin or polished ground.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Stylized landscape with alternating large and small trees in between layers of blue floral bouquets, blue floral and foliate swag and metallic gold floral and foliate swags. The swags hang from a top band of scalloping pattern. Bottom has foral bands and striping. Background of two blue horizontal bands with scalloping. Grounds shades light blue to cream. PRinted in blues, white, metallic gold and white liquid mica. Printed in selvedge: "Hobbs. Benton & Heath" pattern number "3728"
Fragment
, 16th century
silk, linen Technique: continuous braid like bobbin lace, plain weave fabric

Continuous braid like bobbin lace, dyed green and sewn to plain weave fabric.
The Descent of the Holy Spirit (The Pentecost), from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

The Virgin is seated near center foreground, an open book on her lap. The disciples are seated and standing about her, watching the Holy Spirit in the form of a dove, as it appears in a ray of light above the Virgin. Monogram of Dürer, near left center.
Design for a Bourgeois Biedermeier Interior
R. Haes, 1853–58
Brush and watercolor, white gouache, pen and black ink on wove paper
Drawing

This watercolor likely documents a room in an upper-middle-class townhouse from the German town of Coblenz (today Koblenz). The furnishings in the drawing appear to date from the 1840s. The sofa follows the Rococo Revival style popular around this time; the round table, klismos-type chairs (created by the ancient Greeks, with splayed legs and curved backrest and rails), and side chair are typical late Biedermeier pieces, while the white ceramic stove features bands of decorated tiles with Schinkel-style classical motifs. Gray flat-patterned wallpaper with contrasting red Gothic pelmet bands beneath the upper molding and a similar band above the baseboard covers the walls. Additionally, the floor is covered by a green carpet with octagonal motifs. A bookshelf hangs on the right-hand wall, along with a cuckoo clock. A servant's cord hangs on the left side of the room.
Ceiling border
, 1875–1906
Block-printed paper, embossed

Wallpaper roll.  One quarter of a circular medallion, containing red poppies and foliage printed over bands of wide bands of gold and ocher. Two other medallions are included.
Seated Man
George Charles Aid, American, 1872–1938, 1890–1900
Graphite and black crayon on illustration board
Drawing

Young man seated, smoking a pipe.  His head is bent down, and he rests his right foot on a rung of the chair.
Bellum
, early 19th century
Metal
Button

Circular button with bust of woman (?) in helmet and armor; "Belli" on right shoulder. "BELLUM" under figure, within band around rim.

On card 43
Fragment
, 16th–early 17th century
silk Technique: velvet

Fragment of brown silk velvet on a cream-colored ground in a pattern of flowering branches.
Sidewall
, ca. 1750
Block-printed and flocked on handmade paper, varnished ground

Deep mustard-yellow flock on mustard-yellow ground. Large scale pattern of floral bouquets, scalloped ribbons and bows.
Allons! Allons! Il faur partir, Plate 9 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Woman waking a couple in nightshirts, in an inn. Dog on a pillow, over two chairs, right center. Title and artists' names below.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Pattern of rococo acanthus c and s scrolls interspersed with bunches of white roses. Design printed in light green, tan, white and brown on beige ground.
Plate in Nouvelles Cheminée faittes en plusieur en droits (New Designs for Fireplaces)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

The fireplace is decorated with a curved escutcheon, and its entablature depicts a scene of putti in relief. Two female robed figures flanking an urn, with garlands, sit on a mantelpiece. Above, garlands hang from a mask. Scale below.
Invitation for a Funeral
Jane Ireland, British, 1794
Etching on paper
Print

A funeral procession arriving from right to a church at left. In immediate background classical houses.
Border
Maxwell & Co., S.A., Chicago, Illinois, USA, 1889–92
Machine-printed

Horizontal cream ribbon connects bunch of pink roses with smaller motifs of two pink rose buds. Ground has staggered rows of striped horizontal figures; printed on graded cream and tan ground. Two identical borders to the width.
Corner Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and watercolor, graphite on white wove paper
Drawing

Corner border with undulating flowering vine design.
Coverlet
, 1842
cotton, wool Technique: double cloth

Coverlet with a design of highly stylized plants forms and stars in red wool on a cream ground. Wide border with birds on either side of a tree. In two corners, marks that read: "Made by T. Fehr in Lower Saucon for . 1842."
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On a tan ground, green and tan design in shape of square-topped structures with acanthus plants on top. Below, vines in tan and green. Dotted lines in empty spaces.
Female Mask with Tendrils
F.S. Gilbert, ca. 1905
Silver
Matchsafe

Rectangular, curved corners, sides, top and bottom curved and cinched at several points, featuring female mask with long hair and long, stylized tendrils, all framed by stylized, intertwined ribbon-like ornament. Reverse features open, central reserve with monogram GMM, all framed by series of attenuated lily flowers. Lid hinged on side. Striker on bottom.
Sketchbook Page: Standing Figure with Staff
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Standing nude figure, holding staff in right hand. 
Verso: Standing nude figure, leaning towards left, with right arm raised, though arm not pictured. Additional small sketch of figure, lower left. Additional inscriptions and numbers, likely monetary calculations.
Knife
, ca. 1650
wood, steel
knife

Long flat leaf-shaped blade. Ribbed bolster. Almond-section handle, wood scales inlaid with metal wires in scrolls, trefoils and dots along length. Steel cap at terminal.
Three-Tined Fork with Jasperware Handle
Wedgwood, English, established 1759, ca. 1775–1800
jasperware, gold plated, silver
fork

Silver gilt fork has three curved tines, baluster-shaped neck, oval in section. Banded ferrule. Tapering jasper handle, oval in section, light blue ground with raised design in white. S-shaped scrollwork, acanthus leaves and flowers on both sides. On front a woman in greek costume holding a disk in one hand, the other hand above the fire in the burner next to her. Beaded cresting along the sides of the handle, floral decoration at the top of the handle, a metal cap in the centre.
Les Vendanges
Jean-Baptiste Huet, French, 1745 – 1811, 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Panel of cotton printed in red showing a design of women harvesting grapes; country folk dancing and courting; a man on the ground holding a bottle.
Design for Lampshade, Polo Players
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on tracing paper
Drawing

Design for a lampshade intended to be executed in ironwork. Depiction of polo players, posed horizontally, each on horseback, with their arms raised and holding mallets. The
Plate XLI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Two towers shown on a cheateau. They are used for wind, sun's ray's, to disperse smoke; two methods. Description in Latin on verso of 1949-152-238.
Textile
, late 17th century–early 18th century
silk on cotton Technique: drawnwork and knot stitch embroidery on twill weave; bobbin lace

White on white. Large panel of twill-weave cotton, embroidered in white silk thread along border, edged by bobbin lace, showing drawnwork and knot stitches. Pattern shows flowers and scrolls.
Band
, 1100
wool Technique: plain weave with discontinuous supplementary warps patterning

Band of brown wool with diagonally placed design in red, yellow and lighter browns.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Recto: Address noted; otherwise bank. 
Verso: Portrait of man with mustache, facing towards right. Face shaded, with only outline of hair and collar sketched.
Fragment
, 19th century
silk on linen Technique: embroidered

Fragment showing dense floral forms in blue-green silk on linen.
View Looking South from Mt. Kearsarge, New Hampshire
Daniel Huntington, American, 1816–1906, August 14, 1854
Graphite on paper
Drawing

Trees and rocks on ledges of Mount Kearsarge, in foreground. Saco Valley, left and center, with mountains beyond, including Chocorua and Moat.
Rocky Peak above Pines and a Rowboat
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan laid paper; verso: graphite
Drawing

Landscape sketch of a tall, pyramidal, and rounded granite mountain in the European alps. In the foreground, loosely-rendered conifer trees frame a view of the mountain in the distance at center. Oppositely oriented along the lower margin, a sketch of a figure sitting in a rowboat on a rocky shore is also included.

Verso: Landscape sketches showing two stacked views of rugged mountain peaks in the European alps. In the upper half, two craggy peaks are viewed obliquely above a steep, wooded hillside. In the lower half, a view of distant jagged peaks is framed by a wooded slope in the foreground at left.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design with a central cartouche of two men on horseback fighting with swords in a landscape, framed by foliate scrolls, scrolling leaves (rinceaux), rosettes, snakes, winged putti, a crown, foliate branches, and mermaids. The plate is numbered
The Worship of Amor Vincitor
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and black ink, brush and brown wash, graphite on cream laid paper
Drawing

The statue of Amor Vincitor is shown in the right center. A girl lies at its foot, a young man leans upon the pedestal. Groups of worshippers are at left. An old man guides a girl to the statue and a young couple approaches it, at right. A mountainous landscape with a temple precinct forms the background.
Military Trophy
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1590
Pen and brown and black inks, brush and blue wash over black chalk, with corrections by the artist in white opaque pain on laid paper.
Drawing

Recto: A rectangular military trophy with a feathered helmet at center. Banners to the left and right are decorated with crosses and birds.
Stage Design, View into Palace
Carlo Antonio Buffagnotti, Italian, ca. 1660–after 1715, early 18th century
Pen and brown ink, brush and gray and pink wash, brush and blue watercolor on laid paper
Drawing

Vertical rectangle. View into palace showing huge substructure and vaulting. In the middleground, high hall with wooden ceiling and lantern hanging from chain.
Study of a Woman's Head for "Grape Gatherers"
Daniel Huntington, American, 1816–1906, July 1855
Graphite, chalk on light brown paper
Drawing

Study of a woman's head in left profile.
LE PONT ST. ANGE A ROME
Nicolas Perelle, French, 1631 – ca.1695, late 17th century
Etching on laid paper
Print

View of the Sant'Angelo Bridge in Rome in the center, leading towards the Mausoleum of Hadrian (Castel Sant'Angelo or Castle of the Holy Angel), a large rotunda building topped with a tower and flags. Figures, horseman, and horse drawn carriages on the road and on the bridge. Figures in rowboats on the river. The plate is signed, titled, and with a description below.
Tophée d’Armes d’un Grand de la Chine
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A chinoiserie (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) ornament print featuring rocaille motifs in a landscape with a male figure in the background and trees. The central ornament includes c-scrolls, bat wings, shells, fretwork, fluting, festoon of flowers, and scrolling leaves (rinceaux), topped with a vase of flowers, a flag, wheat or leaves, a dagger, draped textiles, and a parasol. The plate is numbered, signed, and titled.
Elevation of a Tomb
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of a tomb that leads into a chapel. The port is of a post and lintel structure, with trophies carved onto the posts, and decorative elements on the lintel including cartouches, helmets, guilloches with rosettes, lion heads, fish scale ornamentation, and a large sculptural group with figures, Father Time, a dog, and a lion. This doorway is framed by an arch, held up by columns with Corinthian capitals and ornamented with sculpted angels, acanthus leaves, and a cartouche. The plate is signed and numbered.
Moutardier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Pot made completely out of shells and feathery leaves; finial made of leaves; handle of one feathery leaf. The plate is signed and numbered.
Storm Clouds, Mexico
Frederic Edwin Church, American, 1826–1900, February 22, 1892
Graphite on light brown wove paper
drawing

Atmosphere and landscape sketch showing a view of storm clouds over hilly terrain in Mexico. In the foreground at right, a tall plant, likely a cactus is visible. Flat terrain extends from the foreground and into the background, where a rugged range of hills is shown on the horizon at left. Dominating the composition at center, a billowing mass of thundery storm clouds unleashes a torrent of dark rain above the hills at center left. Main portion of the cloud shaded and rendered in some detail.
Sheep on a Hillside
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite on paper
Drawing

Sheep on a hillside in the shade of a tree.
Fragment
, 1750–1800
silk, metallic thread Technique: cut and uncut voided supplementary warp pile in a satin foundation (pile-on-pile velvet)

Very small fragment with incomplete design. Uncut blue ground with large-scale floral and foliate motif in green, blue, salmon, and purple cut and uncut pile. Pink satin ground, shot with silver thread, shows in three minute motifs.
Fragment
, 10th–12th century
linen, silk, metal Technique: plain weave and 2/2 twill

Bands of silk with metal yarns in twill in plain weave.
Three Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A larger ornamental frieze above with two smaller designs below with scrolling leaves (rinceaux), mascarons (masks), putti, flowers, leopards, rosettes, fruit, s-scrolls, and a roundel profile portrait.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The base is similar to 1938-88-1319. The structure is a round tower in freestone work. At the front is a doorcase, with an entablature which is supported by consoles. Above it is an oblong block with a putto crouching upon it, carrying probably a crozier and another stick. Laterally are more projecting and more detailed doorcases, with putti similarly disposed. Above is a band with a triglyph frieze. On top is one of those variations of 1938-88-1323, in which the angel is kneeling (as in 1938-88-1302).
Title Page
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for the façade of an apartment decorated with fluted columns with Ionic capitals, urns, carved drapery, branches, and reliefs. The plate is numbered.
Landscape Sketch with Figures, Palestine or Syria (Israel or Jordan)
Frederic Edwin Church, American, 1826–1900, February or March 1868
Graphite on white wove paper
Drawing

Landscape study of a mountain range in present day Israel or Jordan, with three figure studies. A layered mountain range with many sharp and successive peaks is visible at center, stretching obliquely into the distance at right. Detail of a rock carving shown at lower right. Along left margin and oppositely oriented are three figures wearing draped clothing and shown from behind.

Verso: Landscape study showing a close look at a rugged, rocky mountainside in present day Israel or Jordan. An overhanging rock is visible at upper center, amid other boulders and rocks.
Theatro Filarmonico (Philharmonic Theater) of the Accademia Filarmonica (Philharmonic Academy), Auditorium and Main Entrance Elevation, Verona, Italy
Jean-Joseph Chamant, French, 1699–1768, 1715–20
Pen and brown ink, brush and brown wash, black chalk on white laid paper, laid down
Drawing

Vertical rectangle. Overhead view of a plan of an auditorium. Sections labeled alphabetically and described on bottom in Italian in brown ink.
Design for an Earring
, early 19th century
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Jewelry design for an earring. On top, a chalice with a vertically disposed blossom. The central part is composed of two erected cornucopias, each containing an erected and a hanging flower stem. Below, a drop with a double frame. Bevelled corners.
Figural Studies
Giuseppe Bernardino Bison, Italian, 1762 - 1844, ca. 1800
Pen and bistre on paper
Drawing

Sketches of angels and saints. Two putti hold aloft a cardinal's hat. A group of nude figures.
Ornamental Capital Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for 12 ornamental capitals featuring motifs such as bucrania, acanthus leaves, garlands, strapwork, masks, terms, snakes, rosettes, shells, lancet leaves, snails, portrait medallions, and lozenges. The plate is numbered but not signed.
Plan du Jardin de St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating sectional views of garden pavilion, underground icehouse, Chinese style pavilion for the icehouse and grotto within its landscape and surrounding trees. The plate is titled, signed, and numbered.
Galerie métallique des grands hommes français (Great Men of France)
Jean Joseph Dubois, French, 1798 - 1841, 1817
Cast bronze
Medal

Bust of Nicolas Poussin (1594 -1665).
Designs for Urns in the Antique Style
, late 18th century
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Elevations of five footed urns in the antique style. One at upper right with Egyptian figures.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace with an overmantel mirror. The fireplace is decorated with ornament motifs including a portrait medallion, garland, fluting, egg and dart, and rosettes. The plate is signed.
Plate 5
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes with garden canopies in the form of large parasols. A man sits on a platform supported by wooden beams with stairs below and a balustrade behind him. A large canopy or parasol above him with hanging garlands of flowers. The plate is numbered.
Design no. 1866 for the Embroidery of the Lower Front Part of an Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Bunches of flowers and of leaves rise from the framing which is formed by a chain of lozenges. Over its central part at left is pasted a piece of paper suggesting a frame formed by a leaf bough and a garland. A line along the hem.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The plan of the bowl is like -1410, the support is a variation of that in -1420, the receding frieze being decorated alternatively with a fleur-de-lis, and an upright acanthus leaf. The front of the bowl is decorated with a framed relief, probably representing the dispatch of the Apostles, six being represented, by Christ; the lateral parts are decorated by festoons. The lid has the shape of a pedestal upon a base. On its front sits an angel, supporting with his left hand the ladder, in the background are other instruments of the Passion, as the column, the spear. Above the oblique volutes are cherubim; on top is a calix with a socket from which a cross springs. Usual background.