biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Fountain with Landscape
Gilles-Marie Oppenord, French, 1672–1742, 
Pen and brown ink with brown wash on paper
Album page

Design for a fountain spigot with a grotesque lion head and rocaille ornament. At the bottom of the page is a landscape with trees and ruins. One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Sidewall
, 1860
Machine-printed

Brown paper, wide stripes in aniline blue, scattered flower clusters on the latter in drop repeat.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted maroon silk evenly ornamented with cut steel beads; opening at side controlled by two octagonal cut steel rings.  Four lined tassels of steel beads at each end.
Sampler
Emelie Husband, Scottish, mid-18th century
silk embroidery on wool foundation; linen edging Technique: embroidered in cross, double running, knot, herring bone, eyelet, and cross over cross stitches on plain weave foundation

Alphabet and curving floral vine.  Name of maker's father, Paul Husband, and mother, Isabelle Fenton, at top.
Woman with a Basket
George Charles Aid, American, 1872–1938, 1896
Pen and black ink, brush and grey wash on cream wove paper
Drawing

A standing woman in a long dress with leg-of-mutton sleeves, and wearing a shawl over head, is seen turned slightly to the right, carrying a basket with her right arm. Drawn on the back of a musical program, dated in the artist's hand.
Ticket for Milward's Benefit
Samuel Ireland, English, ca. 1744–1800, 1794
Etching on paper
Print

Scene in a prison cell with four figures: two women and two men. One man is trying to kiss the hand of one woman whose other hand is held by the second man. The second woman is holding the coat tails of the first man.
Waistcoat fragments
, late 18th–early 19th century
silk Technique: embroidered on taffeta

Waistcoat fragments consist of a portion of the center front and a pocket flap. Center section shows curling vines with single blossoms that surround remaining four buttonholes. Pocket flap has classical architectural elements, griffins, birds, and curling floral motifs. Both in multicolored silk on an ivory ground.
Face with Extended Tongue
, late 19th century
Silver
Matchsafe

Oval, in the form of a face with eyes looking upward and crossed, furrowed brow, wide open grin, and tongue extended out and down over chin. No ornament on reverse. Area from top of head down to continuous eye brow line is lid, hinged on upper left side. Ridged tongue likely intended as striker.
Pair of stockings
, early 19th century
silk Technique: knitted and embroidered Label: knitted silk, embroidered with silk

Pair of green knitted silk stockings with a red insertion at the ankle surrounded by embroidered decoration in pink and white.
Sidewall
, 1840–60
Block-printed paper

On gray ground imitating moire or watered silk, two columns - one, of small sprays of pink and blue flowers with trailing green vines and, the other, of larger bouquets of blue, pink, and yellow flowers with trailing vines - alternate.

H#262
Bandbox
John Perkins, ca. 1835
Block-printed paper, pasteboard support

Small pasteboard bandbox covered with wallpaper border pattern, pieced so one horizontal border band encircles bottom and a narrow edging strip covers rim of lid. Stylized architectural leaf band in browns and yellows, and band of stripings. Principal banding: on dark green background, green leaves and white camellias with pink and yellow centers, in continuous band. Strip of unfaded color under lid. Remnants of a different floral sidewall paper with a yellow ground around edge on box bottom.
Sampler
, mid-19th century
silk embroidery on linen foundation Technique: embroidered in satin, four-sided, and running stitches, and withdrawn element work with needle-made fillings, on plain weave foundation

Grid of rectangular bands and squares, each embroidered in stylized floral motifs, geometric patterns, or needle-lace fillings.
Border
, 1850–1900
Block-printed on machine-made paper

Central band of tapestry or cross-stitch imitation. Alternating motifs of pink and orange flowers, separated by foliage. Narrow bands of small squares along top and bottom edges. Printed on black ground.

H# 26
Sampler
, 17th century
linen, silk Technique: embroidered

A series of embroidered bands with floral and geometric motifs and two alphabets rendered in different stitches.
Woman's Head in Exotic Headdress
, late 19th century
Plated brass
Matchsafe

In the shape of a woman's head, dressed in exotic, Egyptian style headdress; she wears long pendant earrings in the shape of obelisks with heiroglyphics, and necklace strung with smaller pendants. Front and reverse decoration identical. Box lid with thumb catch on bottom, hinged on reverse. Striker on bottom of lid.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1900
Machine-printed

Pink and green fan-shaped motif, surrounded by green petals, set in shaded olive rectangle. Border of pink and red flower in olive band. Tracery work,on beige ground imitating textile.
Cyclamen Hederaefolium and Cycla Hederaefolium Flore Albo, Plate 71 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Cyclamen Hederaefolium and Cycla Hederaefolium Flore Albo" from A. C. Van Eeden's "Flora of Haarlem."
Trimming
, late 16th–early 17th century
metallic strips wrapped around linen core Technique: bobbin lace

Gold and silver metallic lace in a straight band of interlocking diamond shapes, with an elaborate picot on both long edges.
Sash
, 19th century
wool Technique: diagonal interlacing

Sash of interlaced wool in pattern suggesting arrowhead. Known as 'ceinture flêche'.
Juno from the series Olympus
Delicourt, 1826–50
Block-printed paper
Decorative panel

Depiction of Juno, in white dress, standing on a plinth with a large peacock. Printed on a blue background.
Ceiling paper
Williamson, 1905–1915
Machine-printed paper, liquid mica

Alternating large floral medallions with foliate scrolls and fleur-de-lis motifs. Ground is white. Printed in blue, greens, and white. Printed in selvedge: "Williamson 665"
Dessert Fork with Ant and Larva
Charles Victor Gibert, French, ca. 1890
silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form leaf with toothed edges. Ant carrying a larva apploed midway down leaf.
Border
Illinois W.P. Mills, 1900–1920
Machine-printed

Vining floral with pink and red flowers, printed over background of mica-striped white.
La Marchande d'Eventails
Wilhelm Wörnle, Austrian, 1849 - 1916, ca. 1880
Etching in dark brown ink on white satin
Print

In a Spanish square a group of peasants inspect fans offered by a saleswoman who sits near her wares, spread out on the ground before her. A bare-backed urchin crouches in the foreground.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of green cut and uncut velvet on yellow silk ground. Portion of curving large-scale flower and foliage design.
VUE-PERSPECTIVE DE LA PLACE DE LOUIS LE GRAND
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Perspective view of the Place Louis le Grand (now Place Vendôme) with the temporary structures constructed for the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa of Spain given on February 23-26, 1745. The long halls, on either side of the statue of Louis XIV, are trellised with greenery at the top and feature fountains at either end. The square is full of individuals of all types.
Blue Hill with a Rainbow, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–1873
Graphite on gray wove paper; verso: graphite
Drawing

Landscape sketch showing a view overlooking the southern slope of Long Hill towards Blue Hill in Hudson, New York. Long Hill's grassy slope gently descends from the foreground to the background with two trees and a bale of hay in the middle distance at center right. At left, a grove of trees is loosely rendered. In the background at right, a red barn is shown in front of the short, dual-lobed Blue Hill. The base of a rainbow's arch springs out of the terrain beside the barn at right.

Verso: Atmosphere and landscape sketch showing a view of a large rainbow arching over Blue Hill, as viewed from Olana (possibly the belltower). The striated rainbow arches from lower right to upper left, while a rolling and wooded mountain ridge is visible behind it.
Plaque
, early 19th century
Brass

Polygon with straight lower edge, with repoussé decoration showing classical scene with a recumbent nude on a couch.
Scentic View from Pavilion
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This delicate pavilion resembles that of Kinkaku-ji, with its brilliant gold exterior and meticulous architectural details. However, the likeliness of this reference is ill-fitted due to the landscape below. This pathway displays a prominent set of shops and storefronts, which makes this more likely a rest stop for the aristocracy. A view from the balcony overlooks the lush green landscape.
Portrait of Pierre de Marca (1595-1662)
Gerard Edelinck, Flemish, active in France, 1640/41 - 1707, 1696-1700
Engraving on paper
Print

Bust length portrait in three-quarter view turned toward left. In an oval frame with the coat-of-arms in lower part. It rests on a moulding with inscription.
Textile
, 1870–80
cotton Technique: roller printed on plain weave

Black and purple on a white ground in an allover pattern of tiny black sprigs and black and white dots on a purple ground.
Man
Robert Frederick Blum, American, 1857–1903, 1881–1882
Graphite on wove paper
Drawing

Sketch of a male figure reading on a bench.
Figures in a Garden
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a painting or mural depicting figures in a garden. Framing lines.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed lines on paper
Drawing

The Virgin is standing upon clouds, seen frontally. She has her arms around the Child, who stands upon her veil, blown in spirals around her.
The Cruise of the Polly Ann
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story from "Archibald the Cat, and Other Sea Yarns," about a sailor's journey to Sandy Hook.
Design for a Sculpture in a Niche
Augustin Pajou, 1730–1809, 1780
Pen and ink, bursh with brown washes, graphite, black crayon on paper
Drawing

Pysche standing in a semicircular niche holding an urn.
Design for a Library Wall
Nicolas Pineau, French, 1684-1754, ca. 1740
Pen and black and red ink, brush and gray and rose wash on two joined sheets of white laid paper
Drawing

Two sections of bookcases are divided and flanked by carved panels of boiserie; at the left, a door and a wide and narrow panel, the wider one flanked by sconces and decorated with carved festoons and a mirror; at the right, desk containing a clock and above, a carved picture or mirror frame; over the bookcases--statuary, vases, and a map-globe. On verso, graphite sketch of a console table with indications of scale.
Ribbon fragment
, late 19th century
silk Technique: woven

Olive satin ground with chrysanthemums facing in two different directions.
Decoration, du Côté de la Cheminée, d’une antichambre, du dessin de Mr. Le Roux Architecte
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

An interior wall elevation with a central chimneypiece, with flanking paneling and double doors with over-door paintings on either side. The paneling is decorated with rococo ornament, including acanthus leaf, strapwork, c-scrolls, flowers, shell, rosette, and plume motifs. The dado level and doors are plain with molding. Above the chimneypiece is a blank rectangular panel, possibly a mirror, with a painting above. The plate is titled with a scale below.
Costume Illustration
Pierre Numa Bassaget, French, ca. 1835
Graphite, pen and sepia wash on paper
Drawing

Two women in contemporary costume. At left, a woman is seated at a pianoforte, her back to spectator. At right, another woman is seated at a harp, her figure facing right. Probably illustration for "Le Follet Courrier des Salons."
Embroidery sample
, ca. 1770
silk, metallic thread, paper Technique: embroidery on uncut voided supplementary warp pile (velvet); in paper envelope

Dark purple uncut voided velvet with small triangular pattern embroidered in elaborate border pattern of flowers and leaves in silver, brilliants, and white silk.
Belisarius
Jean-Louis-Toussaint Caron (French, 1790-1832), French, 1790 – 1832, 1821
cotton Technique: printed by engraved copper plate on plain weave; mordant for purple.
Textile

Five scenes from the story of the general Belisarius Printed in purple on white. Signed: Caron. Two curtains with the trade mark "Indienne Francaise" (curtain "a"). 

The story of Belisarius, a Byzantine general who was victorious on the field of battle but falsely accused of conspiracy and disgraced, became very popular at the end of the 18th century after the publication of Belisaire by Marmontel in 1767. The central scene is after David's 1781 painting "Belisarius." (Recognized by a soldier who had served under him at the moment a woman gives him alms.)
Standing Female Nude
Daniel Huntington, American, 1816–1906, 1860–70
Black crayon and white chalk on grey wove paper
Drawing

Study of a standing nude woman facing frontally and slightly to the right. Left arm raised, as if resting on furniture. Left arm repeated, upper right; lower legs and feet in profile, lower right.
Design for a Woven Vertical Border
, 1815–1840
Brush and gouache on oily tracing paper
Drawing

A bunch of three upright boughs with leaves; a blossom is on the top of one of them, two birds on the others. Yellow stripe at left.
Two Panels of Trophies
Felice Giani, Italian, 1758–1823, 1810–1820
Pen and ink, brush and brown wash, black chalk on laid paper
Drawing

Vertical rectangle showing design for two military trophies. At left, axes, bows and shields, one of which reads: SPQR. At right, armor, shields and helmets in the antique style.
Design for a Military Trophy and Two Helmets
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

An ornamental print featuring a trophy of arms and two feathered helmets below. The trophy includes helmets, shields, and quivers of arrows. The plate is numbered.
Sunset over St. Peter's Basilica, Rome
Frederic Edwin Church, American, 1826–1900, December 1868 - April 1869
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of a vibrant sunset over St. Peter's Basilica and Rome, likely viewed from the Pincian Hill. Foreground is an indistinct hillside with some vegetation and structures, notably a tall figural statue on a plint, visible at center. Behind this statue, in the middle distance at center, the lofty dome of St. Peter's dominates the city skyline, both of which are painted in a uniform hue of light purple. Above, the setting sun illuminates a cloud bank in shades of yellow, orange, and red, and renders the sky a gradient from yellow to blue.
Elevation of a Sepulcher Monument
Matteo Torelli, Italian, 1822
Pen and black ink, brush and gray, brown and blue watercolor, graphite on off-white wove paper
Drawing

A stele rises upon a dado of three rows of blocks. An angel with torch stands with one hand on the lap of a seated veiled figure. Written above the group: Laorimis. Meg. / Sunt. Panes. Dieg. / Hao (?)
View from the Aletsch Glacier, Switzerland, Part Two
Frederic Edwin Church, American, 1826–1900, August 27, 1868
Graphite, brush and white gouache on beige wove paper
Drawing

Landscape sketch showing the second part of a panoramic view of the Pennine and Bernese Alps from the surface of the Aletsch Glacier near Belalp in Switzerland. This description refers to the entire view, comprising two leaves with 1917-4-464-a. Long piles of rocks and soil known as medial moraines are visible in the immediate foreground, with two rugged piles at left and right. The serrated surface of the glacier, highlighted in white gouache, extends from the foreground to the middle distance and is bounded at left and right by steep and heavily wooded mountainsides that ascend to the left and right corners. At upper right, a small alpine cabin is perched upon the ridge. In the background at center, three monumental, snow-capped mountains are prominently visible: the Dom at left, the Matterhorn at center, and the Weisshorn at right. They are viewed across several other mountainsides and ridges.

Verso: Lanscape sketch showing outlines of mountains near the Aletsch Glacier. Largely indistinct.
Design for the rear of a carriage
, 1700–1750
Black chalk on paper
Drawing

Two Atlantid, aided by two putti, hold a canopy over a cave in which a nymph of a source crouches.  A scaffolding rises on top, topped laterally be seated children.  A coat of arms help in the top center before a tasseled cloth by two seated putti.
Frontispiece for a History of Peter the Great
Jean-Jacques-François Le Barbier, French, 1738 – 1826, ca. 1780
Pen and brown ink, brush and orange wash, black chalk, engraving (portrait) on white laid paper laid down on blue paper mount
Drawing

A genius holds a crown over the medallion, the inside of which is cut out and replaced by the print; it stands on top of the support, most of which is covered by a cloth; attributes referring to Peter's activities lie upon or before, or lean against, the support; ruled borders in pen and black ink, gold leaf.
Design for the Ceiling of the Salon of the Palazzo Spinola, Genoa
Louis-Jean Desprez, French, active Sweden, 1743–1804, 1776
Etching on paper
Print

An oval central panel shows the Apotheosis of Amrbose Spinola, being borne to heaven on a chariot. The outer edge of the ceiling is composed of segmented panels with vine tendril arabesques and putti. Columnar and pier supports are indicated at the outer edges.
Nude Study
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite with rose and red crayons on cream wove paper
Drawing

The girl's head is turned toward right; arm shown to elbow is stretched out.
Buttons
, 19th century
glass and brass

all buttons of glass made in imitation of malachite - a/: circular, flat button pierced in center with brass ornament on shank - b,c,g/: oval buttons made of stone set in scalloped brass collets - d,e,f/: circular stones set in scalloped brass collets.

On card 17
Deaf and Dumb Asylum
, ca. 1831
Block-printed on handmade paper, pasteboard support
Bandbox and lid

Box bottom has fanciful scene of rhinoceros with hunters on foot and on horseback, with background of mountains. Lid has view of large building on manicured grounds, with legend of the "Deaf and Dumb Asylum".
Vignette with Angels and Instruments of the Passion
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

TWo kneeling angels hold, three cherubim gaze at the Sudarium.
Elévation d'un Cabinet Orné d'armoires pour diverses Curiosités ou pour Bibliothèques
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation and cross section of a study with three arched cabinets interspersed with vases on pedestals. The cabinets have overdoor panels decorated with carved medallions, vases, and garlands. The plate is signed.
Studies of a Battlefield with Tree Stumps and Blasted Tree Trunks, Petersburg, Virginia.
Winslow Homer, American, 1836–1910, 1864
Recto: Graphite, black crayon, with touches of white chalk on tan paper Verso: Black chalk on tan paper
Drawing

Recto: Two vertical sketches of countryside with tree-stumps; drawn at Petersburg, Virginia.  
Verso: Vertical sketch of bust portrait of an officer shown in profile, to left.


Two views of landscape: battlefield with tree stumps. View on lower left side separated from view on upper half and right side by graphite line across center. VERSO: Profile of man wearing hat and military jacket with right
hand inserted into coat front. Sketch of sleeve of Confederate officer's uniform below him.
Sketch of the Sky
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on white paperboard
drawing

Atmosphere sketch showing a view of a partially cloudy sky at sunrise or sunset. Along the upper margin, numerous wispy clouds are illuminated in shades of ruddy purple and pink, catching the reddish light at the edge of day. The sky behind these clouds is a gradient from light green to light blue, while the landscape below is possibly rendered in a shade of purplish brown at lower right. The lower half of the composition unfinished, showing only the light brown ground color.
Apotheosis of Franklin
, ca. 1780
linen warp, cotton weft Technique: copperplate printed on plain weave
Textile

Off-white cotton textile copperplate printed in red. The design, known as "American Independence" or "Apotheosis of Franklin" shows George Washington standing in a chariot drawn by leopards, and behind him a female figure holding a shield on which "American Independence 1776" is inscribed.  Benjamin Franklin is shown with a female figure carrying a liberty cap on a staff; above them on a scroll: "Where Liberty Dwells There is my Country."
Bergère (No. 6), in Recueil de différents Muebles garniers Comme Fauteuils (Liard's "Suites")
Matthew Liard, English, ca. 1736–1782, 1736–82
Etching on cream laid paper
Print

Left, chair with curved legs and back; right, cross-legged stool, tassels on cushion.
Wallpaper Design
, 1835–50
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, and a high entablature on top. the panel shows horizontal rows of circular wreaths, with rosettes, which are connected by small ones which are shown perspectively. Above these stand palmette motifs; above the tops of the great wreaths are clasp motifs. A vine garland is on top, the upper part of which is shown against a rose background.
Stage Design, Citadel on a River
Giuseppino Galliari, Italian, 1748 - 1817, late 18th century
Pen and black ink, brush and gray-brown wash, black chalk on laid paper
Drawing

Horizontal rectangle. Gothic palace with many towers on enormous substructure with bridges leading up to palace. Verso: text fragment with account of costs for staging an opera.
Design for an Andiron
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation and plan of an andiron decorated with ornament motifs including pine cone,garland, fluting, rinceaux, mascaron, rosette, and sphynx. The plate is signed and numbered.
Dedication page
Hugues Brisville, French, active ca. 1663, 1662
Engraving on laid paper
Print

Dedication page printed in black. Above the text is a coat of arms flanked on either side by a lion and an acanthus leaf. On top of the coat of arms is a frieze decorated with a piece of armor that is surrounded by foliage, and below the arms is a grotesque head. Dedication is to Monsieur Longuet, king's councilor.
Pleated fan
, late 19th century
Painted silk leaf, carved walnut sticks

Pleated fan with bullfighting scene painted on bronze-colored silk satin. Walnut guards carved with imitation knots.
L’HORLOGERIE / LA GRAVÛRE
Jacques Bacheley, French, 1712 – 1781, mid- 18th–late 18th century
etching on paper
Print

Fifth plate from a series of fifteen depicting children and the sciences, framed within decorative rococo cartouches, two per plate, side-by-side. The series is incomplete here. The left-hand scene shows three boys working with horological instruments, within a landscape. There is a large globe on a plinth with clocks to the right, and a table in the foreground. The top of the cartouche incorporates elements of a clock's mechanism. The right-hand scene shows an interior with a group of boys working in a print workshop. A table in the foreground with a seated figure engraving a plate. A press in the background with drying prints suspended above. A boy sketching a portrait bust sits on top of the frame. The title is lettered below each cartouche. The plate is signed and numbered.