biglam/cooper-hewitt-alt-text huggingface dataset:
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

Large lattice design of geometric and foliate medallions. Center of each square space has fleuron and beading that forms petal-like design. Background of light dots and vermiculation. Beige ground. Printed in tans, white and metallic gold. Printed in selvedge: "Hobbs. Benton & Heath." Pattern number "385" "E"
Design for a Painted Porcelain Plate, La Vierge (The Virgin) from the Le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown/black ink, brush and brown/black wash, pink/tan watercolor, white gouache, graphite on cream laid paper, mounted on cream laid paper, ruled border in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene at entrance to a church.  Figures of a bride and groom, left middleground, exit the church.  A niche, right background, displays a sculpture of the Virgin and Child.  Two ladies, right foreground. gossip to each other:  "he's old enough for an affair...ha the poor husband-!..."
Sidewall
, ca. 1800
Block printed on handmade paper

Vining floral, with large red roses and assorted other flowers. Printed on dark brown ground.
Border
, 1810–25
Block-printed on handmade paper

Classically dressed figures with Empire or ancient style furniture including a candelabra form, an ancient style chair, and a table with monopodia and ancient Greek vessel placed on top.  At right edge, lower half of figure with a shield.  Platform composed of a band of dentils.  Printed in shades of brown on tan ground (?).
Sidewall and border
, 1836
Block printed on handmade paper

Vining floral design. Most of pattern has faded out, leaving bright green flowers. A border runs along the top edge. Green and rust-color flowers, with narrow band along both top and bottom edge of border. Border simulates applique or textile. Green color possibly contains arsenic.
Edge
, late 17th century
linen Technique: bobbin lace (continuous braid-like)

Band with fringe edge and stars alternating with circles.
Derelict group around a fire
, 1820–1830
Graphite and pen and ink on paper
Drawing

A large group of figures in ragged clothing gather around a pot suspended above a fire by a tripod, cooking a meal.
Sidewall
, 1785–90
Block-printed on handmade paper

a) Figure cut-out from a wallpaper: Caryatid with watering can spurting water in each hand; b) Roses, dragon fly cut-outs from a wallpaper. In the manner of Reveillon. Printed in oranges, browns, tan, pastel blues, pinks and green on pale blue-gray ground
Study for "Rectitude," Lunette in Hudson County Courthouse, Jersey City, NJ
Kenyon Cox, American, 1856–1919, 1910
Charcoal and graphite on off-white wove paper, laid down
Drawing

Seated allegorical female figure, facing frontally, representing Rectitude. The figure is crowned in a laurel wreath.
Textile
, 18th century
cotton Technique: mordants for black, reds and purples applied by pen and brush; madder dyed; blue applied over resist by brush; yellow applied by brush; chintz on plain weave

Groups of flowers on diagonally moving stems.
Panel
, 18th–early 19th century
linen, wool Technique: embroidered in cross and satin stitch

Oblong panel of heavy cream white hand-woven linen embroidered in black wool and trimmed with fringe of black wool and black tassels at each corner. Borders at side and deep border at end, with a highly stylized plant form, detached and placed at a slant, above borders of geometric forms. Cross and satin stitch.
Design for Side Panels of a Coach
Charles Crace, British, active 1727 – 1784, 1754
Pen and brown ink, brush and gray wash, yellow watercolor, charcoal on white laid paper
Drawing

Rocaille design for coach panels.  Upper and lower left corners have advertisements for coach painting attached.
Two Gentleman Conversing in a Park
Louis Carrogis, called Carmontelle, France, 1717 – 1806, 1717–1806
Black and red chalk, brush and watercolor on cream laid paper
Drawing

Two men conversing (gentleman at left wearing a black cleric's coat; gentleman at right in embroidered gray waistcoat) on a tree-lined path in a park.  Clipped hedge is in right background.  Image is bordered by a black line.
Side wall with fireplace
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and tan and gray wash on wove paper.
Drawing

Wall elevation with fireplace at center, simple panels on either side.
Printing block
, late 19th century
wood

One from a set of five blocks for printing textiles. This would presumably have been the last in the series to be printed on the theory that the lightest color was printed first and the darkest last.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace joined, scrolling brackets and leaves; mid-18th century Valenciennes Fond
Textile Design: A Butterfly
, 1800–30
Red chalk, pen and red ink on cream paper
Drawing

A large butterfly with patterned wings spread seen from above. Design pricked for transfer.
Fork
, ca. 1650–1700
ivory, silver, steel

Two broad curved tines, long baluster-shaped neck. Plain silver ferrule, oval in section. Handle carved ivory, a man in Charles II period costume, holding a scepter in one hand, pointing at the scepter with the other hand.
Fragment
, 18th century
silk or linen on linen Technique: embroidery and drawnwork

Corner of a cover in a geometric design in dark orange on natural ground.
Sidewall
, 1850–1900
Machine-printed

Narrow brown diagonal bands form a diaper pattern at the intersections of which are blue four-pointed motifs resembling stars. At the center of the open spaces of the diaper are brown diamond-shaped figures. Printed on cream ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Landscape medallions printed in an architectural framework, against background of trellis and floral swags. The companion sidewall is 1979-91-918.
Design for a Detail of an Arabesque Frieze
, 1750–1800
Pen and brown ink on cream paper
Drawing

A detail of a decorative arabesque consisting of curving leaves and a central flower. A satyr on the left supports an escutcheon, which is only partially seen.
Carpet fragment
, 1850–75
wool, cotton, hemp Technique: cut pile

Bunches of flower heads in shades of brown, blue and orange on a dark cream-colored ground. Brown curlicues meander between flower heads.
Sampler
, 1842
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Black on natural.  Alphabets at top.  Unfinished pattern circles at bottom.
American Beauty
Roycroft Shops, East Aurora, NY, 1895 – 1938, ca. 1912
Copper
Vase

Large hammered copper vase with an elongated neck with flared lip and riveted band around the bulbous bottom resting on flared foot.
Frieze
, ca. 1830
Block-printed

Green drapery frieze with large-scale pink flowers and gold tassels, suspended from ornate architectural molding.
Seated Woman
George Charles Aid, American, 1872–1938, 1907
Indelible pencil on paper
Drawing

Seated woman, shown half-length, in left profile, her head turned away from the observer, and her elbows resting on a table before her.  Her hair is up, and she has puffed sleeves and a narrow waist.
Dish and cover
George Jones & Sons, Ltd., active 1861 – 1951, ca. 1875
Glazed earthenware

Oval, flat-based dish (a). Sides tapered toward lip, molded with swagged nets alternating with game trophies. At edge of base and lip molded ochre-glazed twisted-rope border. Ground glazed brown, with molded motifs picked out in yellow, white, blue, and brown. Interior glazed with bright mauve; underside mottled green and brown. Oval cover (b) glazed mauve on underside. Exterior molded with central finial in form of a fox on fern fronds and a dead duck. Cover in polychrome colors as on base.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Horizontal repeat of alternating large and small symmetrical vegetal medallions. A scalloped pattern forms the bottom border, and a border mimicking the medallions edges the top of the panel. A cross-hatch pattern fills the space behind the medallions, which themselves are rendered with lateral striations to resemble textile. This design is printed in shades of dark red, green, brown and blue on a tan background.
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 171 (J)
Border
, 1875–90
Block-printed paper

Printed two across, foliate rinceaux, printed in burgundy on gold background.
Darning sampler
, 1801
silk Technique: embroidered in cross, four sided, and running stitches on plain weave foundation

Four patches of "knitting darning" with a crowned monogram in the middle.  All of the darning done on top of the foundation fabric.
Sidewall
, 1880
Block-printed

Simulates damask. Heavy foliate forms in bisymmetrical arrangement. Printed in red on darker red ground.
Man Serving Wine from a Vessel, from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

A large barrel, ornamented, with clawed feet, on a table, left. A man pours something from its spout into a dish. Diagram, above, of three compartments with separate pipes. Description in Latin on verso of 1949-152-216.
Sacred to Washington
Ebenezer Clough, ca. 1800
Block printed on handmade paper
Sidewall

Pillar and arch design featuring monument to George Washington. Rounded arch flanked by Corinthian columns supporting ornate architrave. In opening, a fenced-in altar with inscription "Sacred to Washington", surmounted by urn and eagle, and flanked by mourning figures of Liberty and Justice. In front, trophies of war including arms, drum and flags. Printed in grisaille on originally blue, now gray ground.
Textile
, ca. 1840
cotton Technique: roller printed on plain weave

Straight repeat showing the coronation of Queen Victoria in 1837. Enclosed in a swag of flowers which include the rose and thistle.
Sidewall
, ca. 1880
Machine-printed paper, embossed

All-over flower design, embossed and faintly colored.
Ceremonial shoulder cloth (Selendang)
, 19th century
silk, metallic yarns, dye Technique: Tied resist patterning on plain weave

Woven silk textile with tied resist pattern showing a repeating pattern of flower, star, diamond shapes in purple and orange. Border stripe at either side of the main field with chevron and diamonds. These stripes are worked in weft ikat. At each end of the cloth are further bands of ikat designs.Gold braiding along the selvages and gold fringes along both ends.
Saturn, from The Seven Planets
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on laid paper
Print

The figure of Saturn, his left foot missing, moving to left and holding an infant under his left arm, is accompanied by Capricornus (goat), lower left, and aquarius (the water bearer), right. At upper left is the word "SATURNUS" printed vertically and the symbol for lead.
Border
, 19th century
silk and metal embroidery on cotton foundation Technique: embroidered in running, roumanian, stem and chain stitches on plain weave

Embroidered hem cut from a woman's chemise. Design looks like an abstract village. Primarily red with brown, beige, blue, yellow, green and white on natural. Entire piece has a curved shape.
Environs de Paris
Paulot and Carré, ca. 1820
Block printed on handmade paper, wood frame
Folding screen

Eight-paneled screen, covered with wallpaper. Early 19th century "Landscape Paper", printed in sepia tones. Portion of "Jardin Baujon bei Neuilly". Wallpaper on the verso is blue rosettes on gray ground.  The end two panels have been wiped clean of blue rosettes. Cobblestone road with horse-drawn carriages runs through the middle of the scene. Buildings off to the left side with the boat-filled harbor on the right.
Great Senegal Swall, Plate 6 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Bird on a branch overlooking tropical low areas. He has an orange underside and lower back, with black wings, tail, upper back and hood. Title and artists' names below.
Decorative Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Between vertical stripes are delicate designs created using the pull carving technique. Circles and leaves form this motif.
Plate 14, from Neüw Grotteßken Buch (New Grotesque Book)
Christoph Jamnitzer, German, 1563 - 1618, 1610
Engraving on laid paper
Print

Ornamental cartouche composed of a auricular cartilage-like form with a grotesque mask and wings terminating in dolphin's heads supporting swags. At top, an elephant.
Border
, 1800–1820
Block-printed on handmade paper

On ground of orange-yellow, illusionistically shaded; continuous scrolled band of large acanthus leaves, tendrils, and rosettes in greens, pinks and white. Edging below: cable of close-packed flowers between architectonic lines, in pinks.
Concert de Famille
Wilhelm Krauskopf, German, founded 1847, 1881
Etching in dark brown ink on white satin
Print

In a 17th century domestic interior setting, four people seated around a table listen to four make music, among whom are two children.
Textile
, 1750–1800
silk Technique: satin weave

Dark blue taffeta with a pattern of bouquets of flowers.
Sense of Sight, plate from Quinque sensum typi in usum aurifabroru exarati (Images of the Five Senses Engraved for the Benefit of the Goldsmith)
Crispijn de Passe the Elder, Dutch, ca. 1565 - 1637, ca. 1580
Blackwork and engraving on laid paper
Print

Horizontal oval within horizontal rectangle. In an animal-grotesque field the medallion depicts a seated women looks into a handmirror in a landscape.
Fogo Island, Brimstone Head, and Change Island Rocks, Canada
Frederic Edwin Church, American, 1826–1900, July 2, 1859
Graphite on light brown paper
Drawing

Landscape sketches showing three views of Fogo Island, Brimstone Head, and Change Island Rocks along the northern coast of Newfoundland island in Canada, organized into three rows. The upper row depicts the coast of Fogo Island with a large, rugged prominence at center and another island at right backdropped by dark, distant mountains. The middle row shows the rocky, rolling terrain of Brimstone Head with the mountainous coast of the mainland in the distance. At lower right, the lowest row includes a view of the rough, semi-submerged rocks near the shore of Change Island, with other jagged hills and mountains visible in the distance.
Sketches of Dories on Carriages
Winslow Homer, American, 1836–1910, 1881
Graphite on face of a paper envelope
Drawing

Series of quick horizontal sketches of sailors with boats on carriages.
COUPE DE L’HERMITAGE AVEC UNE PARTIE DE L’ÉLÉVATION DES BATIMENTS DU FOND DU BOSQUET RUSTIQUE
François de Cuvilliés the younger, German, 1731 - 1777, 1771
Etching and engraving on paper
Print

An architectural section and part elevation of a garden building topped with a dome and cupola. The interior features a sculptural group with Jesus on the cross. Above the section is an allegorical headpiece featuring figures, putti, animals with arms and armor and a ring with astrological signs and numbers set within clouds. The plate is titled, signed, numbered, and dated.
Chalice
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Vertical rectangle. The foot is decorated with cherubim above festoons. The stem has the shape of a baluster upon a convex twisted pedestal. Around the lower part of the shaft is a band with circular medallions. The bowl is decorated with a leaf calyx and a row of acanthus calices supporting with the upper scrolls a festoon. Dark colored background.
A Youthful Pilgrim
, 1575–1600
Pen and ink, brush and bistre on paper
Drawing

Shown standing with straddled legs from the frontside. He looks attentively to the left and takes something like a stone supported by his left hand with his right hand. He wears a high hat, a wrap with the shell around the shoulders, a tunic, bare legs, and high boots. The stick is lying behind him. Squared with black crayon for copying. At the reverse is, horizontally, in small size the head of a woman in pen.
Sidewall
, 1880–90
Machine-printed on paper

All-over floral pattern, with jagged edges simulating a weave, printed in multi-color on mustard ground covered with thin gold horizontal lines.
Panel with the letter "A" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

The Letter A is referenced by three small boys with spheres referencing Astronomy.
Interior Wall Elevation
L. Janneret, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

A wall elevation featuring rococo and neoclassical motifs. Three large windows with arched over-panels featuring scrolling acanthus leaves, incense burners, shells, draped textiles, rosettes, and foliate branches. The narrow vertical panels on either side of the central window features profile portraits surrounded by winged putti, and festoons of flowers. Below within the panels, vases, flanked by putto and the attributes of the arts - paintbrushes, a palette, and an oval portrait of a female figure. Narrow vertical panels with arabesques of flowers flank the outer windows. The cornice level is decorated with repeating patterns and festoons of flowers tied with ribbons. The plate is numbered and signed with a scale along the right margin of the plate.
Ornamental Vignette
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Etching on laid paper
Print

Seventh plate from a series of eight fantastical ornamental vignettes. In the center a basket of flowers with fruit, shells, branches, vine leaves and grapes in the foreground, with a well in the background. The ground is suggested with some shading. The plate is signed.
Elevaon de la Façade du costé du Jardin de l’Hostel du Comandeur du Gert (Upper Plate) / Elevaon du dedans de la Cour ou est le grand Escalier de l’Hostel du Comand. du Gert (Lower Plate)
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Two plates printed on a single sheet. The upper plate is an architectural exterior elevation of a hôtel particulier (grand house), view of the garden facing façade, with its windows, pilasters, blind windows framed by pediment and columns, dormer windows, and roof balustrade. The lower plate is an architectural exterior elevation of a hôtel particulier (grand house), with a part sectional view of the interior depicting a statue in a niche and two overdoor portrait busts with a domed coffered ceiling on the second floor. The façade features stairs leading to a door framed by horizontal smooth-faced rustication and a balustrade above, and rows of windows and dormer windows in the roof. Both plates have scales and are titled and signed.
Ceiling Design
Carlo Maria Pozzi, 1708
Engraving on laid paper
Bound print

Design for a ceiling with stucco scroll molding. Along each edge is a cartouche with a trophy with military attributes. The plate is signed and numbered.
Fragment
, 13th–14th century
silk Technique: plain weave patterned by plain weave

All-over small scale repeat of paired addorsed birds, dogs, griffons.
Medallion or Frame Design
Théodore Bertren, active in France, 18th century, ca. 1771
Etching on laid paper
Print

Design for an oval medallion or frame featuring interlaced strapwork, acorns on foliate branches, ribbons, and a leaf clasp. The plate is numbered and signed with the artist's monogram
Apostle Spoon with St. Michael Terminal
, ca. 1800
silver
spoon

Oval bowl with cast and partially twisted stem and terminal in the form of St. Michael holding scales and a sword.
Recollection of a View Overlooking the Valley of Chota, Ecuador
Frederic Edwin Church, American, 1826–1900, August 26-29, 1853
Graphite, white gouache, and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the Valley of Chota and the mountainous landscape of Ecuador from an elevated point in or near the valley, which is north of Quito. A nearby ridge stretches horiztonally across the foreground, with large, rounded prominence visible at center. In the middle distance at left, the Mira or Chota River is shown winding its way across the valley floor, highlighed in white gouache. In the middle distance at right, a house is visible atop a small hill within extensively mountainous terrain, which recedes into the background. At left, an immense, serrated peak is visible with another snow-capped peak shown in the background at right. The mountain at left may be Cayambe while that at right may be Imbabura (or, the leftmost mountain is Imbabura and the right is Cotacachi). Hazy clouds stretch across the sky above.
Project for a Fountain with Two Dolphins
, mid- 18th century
Pen and ink, brush and sepia on paper
Drawing

Horizontal rectangle. Two dolphins are swimming in the water with everted bodies. On the back is an inscription ink: sia uns delle Tule avendo antto da un Caualiere suo Annio una Figlia
Bandbox lid fragment
, 1830–50
Block printed paper on pasteboard support

Two strips of paper have been joined together, so that the bottom edges are face to face. Scene is a view of Castle Garden.
Engine Company No. 13
H. Barnes, USA, 1831–44
Block printed on handmade paper, pasteboard support
Bandbox

Scene depicts firemen pulling Engine No. 13 toward a burning house. Yellow ground color, block printed in pink and white distemper colors and in olive green/brown with glossy finish. This design continues three times around the circumference of the box. Border paper around lid: on green ground, branching stem block-printed in white and pink.
Bank Note Design: Commerce
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on cream wove paper
Drawing

A group of two seated women. The left one is shown in profile from the right rear, turned toward the right and writing in a book. The other is shown from the front holding something indistinct in her right arm.
Stage Design: Stairway Leading to an Obelisk, a Triumphal Arch, and an Arcade
Filippo Juvarra, Italian, 1678 - 1736, ca. 1720
Pen and brown ink, brush and gray, pale lavender wash on laid paper
Drawing

Conglomeration of buildings in the Renaissance style with figures, triumphal arch, obelisk, etc., showing armorial bearings of Pope Clement XI (Albani) (1700-1721) and inscription with his name.
Maison de Campagne de Mr Final près Marly éxécutée entre Cour et Jardin par Mr R…Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a country house with two exterior elevations, one sectional view of the interior, a general plan view, and three floor plans. The house features neoclassical motifs, friezes, columns, and pediments. The plate is titled, numbered, and signed.
Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the Ecuadorian stratovolcano known as Chimborazo. Centrally placed, the mountain's lofty, conical, and snow-covered peak is shown with numerous rocks, ridges, and fissures. Snow is rendered in white gouache.
Theology, after Raphael Sansio, Stanza della Segnatura, Vatican
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and dark brown ink, brush and sepia wash over traces of graphite on off white laid paper
Drawing

Figure scribbling on tablets
Ornamental Vase or Fountain Design
A. Panier, French, active 18th century, 1767-1771
Crayon-manner engraving with red ink on paper
Print

Lidded vase with a spigot near the base. The vase has a shell and coral finial, and a lid of stylized acanthus leaves. Below the shoulder of the vase is a lion face with a ring in its mouth, through which is strung a garland of leaves. The vase is elevated on a claw-footed tripod, and there is some indication of a ground of grasses below. The print is engraved in red ink (sanguine) crayon manner. The plate is titled.