biglam/cooper-hewitt-alt-text huggingface dataset:
Album of Architectural Prints
Nicolas Langlois, French, 1640 - 1703, late 17th century
Album

Album of French late 17th-century architectural prints including views, elevations, and plans of Parisian townhouses, monuments, Churches, Squares, Gates, Fountains; and country houses, palaces, and castles in France, Rome, and Madrid. Many of the plates are signed Perelle. The work of Gabriel Perelle (1604-77) and his sons Adam (1638-95) and Nicolas (1631-ca.95) Perelle is difficult to distinguish from each other. The family members collaborated with stylistic and technical overlap.
Album of Arabesque Ornament Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Album

Album of arabesque ornament designs from a collection of thirteen series of ornament prints designed by J.B. Huet and etched in the crayon manner by L.M. Bonnet. The series is not complete.
Design for Sideboard of Mahogany with Three Drawers
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard with three drawers center, each with pair round pulls and flanked by two doors; low backsplash.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Indistinct sketch, possibly a landscape.
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a village by the water with palm trees.
Lamp Standards and Wall Decoration, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1817
Graphite on white wove paper
Drawing

Canopy-like decorations of Indian design with wide compartments flanked by two narrow ones, each surmounted by domes. The narrow sections have columns with leafy shafts, the space between filled with figures within niches. Wide areas contain two candelabra, with leafy shafts surmounted by lotus leaves.
Textile
, 19th century
silk, cotton, metallic foil wrapped around silk Technique: twill weave with supplementary warp pile (velvet) Label: silk and metallic velvet with linen weft

A length of woven velvet with a large-scale, vertically symmetrical design in the style of the seventeenth century. Ogees with serrated edges containing small flowering tree motifs are surrounded by a large-scale ogival framing devide made up of pearl borders; with a pearl crescent at the point of intersection. In gold metallic twill on a ground of green silk velvet pile in various shades, giving a striae effect.
Dado
, 1815–35
Block-printed on joined sheets

Wide central band of cabled fluting or chandelles. A narrow band of diamond diaper runs above, while an equal band of a wave motif runs below. Printed in yellow, pink and black on a brown ground.

H#590
Pair of finger plates
A.W.N. Pugin, English, 1812–1852, ca. 1845
Brass

Long, narrow pierced finger plates with stylized Gothic flower and foliage design.
Fragment
, late 17th century
silk, metal thread Technique: foundation fabric patterned by the contrast of 8-harness satin and warp faced plain weave – or damassé – and brocaded extra wefts bound by the foundation warp

Gray-violet damassé with small "bizarre" floral clusters embellished with gold blossoms with orange and yellow accents and silver leaves.
Plan of the Second (or Third?) Floor of a Country House
John Trumbull, American, 1756–1843, ca. 1781
Pen and brown ink, graphite on paper
Drawing

Upper floor of house, showing a large central hall, divided into three sections, and a large chmaber at either side. A plan of a small  theatre (?) lightly sketched in pencil in the right-hand chamber.
Design for Wall with Doorway, probably for the Ante Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Elevation of a wall, with a doorway in the center. The walls to left and right have large panels painted in a solid color. The dado is in a bamboo design; the cornice a continuous band in a trellised pattern. Above the doorway an irregular field bearing Chinese characters.
Steam Locomotive
, ca. 1835
Block-printed paper, pasteboard support
Bandbox

a) Bandbox, covered with scenic wallpaper called "Steam Locomotive". Blue background, with dark green trees, hills, buildings, a couple (lady with parasol) and train. The train consists of a locomotive, passenger car, cattle car and flat car carrying logs. Printed in white, tan and yellow. 
b) Lid has similar paper to box: Rim has border with chair pattern of leaves and flowers on yellow background.
Le Desarroi
Beaublé fils, French, 1773 - 1819, 1810–1815
Engraving, brush and watercolor on paper
Print

Street scene. A carriage knocks over a ladder, causing a sign-painter to fall, while a woman reaches for him with fire tongs from a window. Below, title and publisher's name.
Elephant's Head
, late 19th century
Plated brass
Matchsafe

In the form of an elephant's head with large ears, long trunk curled at end, tusks, and jeweled ornament draped across brow, identical face on reverse. Small round and flat lid on top hinged on reverse. Striker on lid.
Sidewall
, ca. 1895
Block printed on machine-made paper

Rococo-revival scrollwork pattern in green and metallic gold on a mica beige ground. Paper support has embossed horizontal ribbing.
Scrapbook of crochet samples
, ca. 1850
cotton, silk, linen, wool Technique: crochet

Twenty-one page swatchbook. Cover in silk with a design of poppies in pink and green on a dark blue ground. Pages of tan, blue, green, red and pink cotton. With 333 samples of crochet and darned net work in linen, cotton and wool thread. Two pink silk ribbons to close.
"The Microscope," Spooner's Transformations, No. 2
William Spooner, England, active 1830 – 1854, ca. 1838
Lithograph and brush and watercolor on paper
Print

Title between two vignettes: "Displaying to the horror stricken old woman the wonderful inhabitants of a Drop of Water".
Sidewall
S.A. Maxwell & Co., 1905–1915
Machine-printed paper, ribbed

Somewhat random scrolling acanthus tracery or framework, with yellow flowers scattered about. Printed on tan ground.
Sidewall
Robert Graves Co., New York, New York, 1900–1920
Machine-printed paper, applied mica flakes

Ivy growing on square trellis design. Printed in a very light green on a slightly darker  green ground. The center of each leaf is printed in gold mica flakes.
Textile
, 14th century
silk, metal Technique: twill, brocaded

Double warp twill, brocaded in gold (gold beaters' gold).  Patterned with trefoils, each enclosing a rose, flanked at top by diagonal banderoles with debased Islamic inscription, which is arranged in diagonal repeats in cream tabby on cream twill ground.  Metallic brocaded palmettes and brocaded insect. This piece has a red stripe across the bottom, indicating end of piece.
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1900
Machine-printed paper, varnished

Sanitary paper; imitation tile or grid design in checkerboard -style. Stylized acanthus scroll pattern alternates with grid framework with scroll border. Surface is varnished. Printed in pale green and gray-yellow on pale yellow. Pattern number 1476.
Cover
, 1775–1800
cotton Technique: mordant and resist painted and immersion dyed on plain weave (chintz)

Wide border on two sides with a shaped medallion in the inner corner. Polychrome on white. 
On a white field, in detached arrangement, freely drawn flower sprays in shades of red on delicate brown stems, with foliage now blue.  A corner ornament of symmetrically curving leaf scrolls in red and blue forms a medallion, in which at its base a small section formed of C-scrolls in blue, frames confronted birds on dotted red ground.  Birds' wings over-painted in small blue dabs.  Narrow guard border frames main section, below which a border, 12 inches wide, is similarly decorated with the same flower sprays and edged with the same narrow guard border; in the latter, small three leaved red flowers suggest the form of a clover leaf.
Colors: Two reds, blue, a few small areas of yellow now much faded.  
General character of design is very free, sketchy in style; blue in leaves unevern as though pencilled in, but vesitiges of yellow indicate the former presence of green.  Red in flowers shaded but no elaboration of veining employed.  Whole deisgn suggests a European embroidery pattern, or a block printed patter of the late 18th century.
Piece is newly lined with plain white cotton.
The Jacobite's Journal
Samuel Ireland, English, ca. 1744–1800, 1794
Woodcut on paper
Print

With an arched upper part. A donkey led by a monk carries a man and a woman. The man holds a wine glass in his left hand, raises his hat with his right hand and shouts "Huzza"; the woman holds a sword and a pack of cards marked "Harrington". In background, silhouette of London. Illustration for Ireland, "Graphic Illustrations…" I, 149.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted dark brown silk ornamented with cut steel beads in geometric pattern.  Two cut steel rings control side opening; steel pendant at each end.
Study of a woman
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of a standing female figure reading.
Sidewall
, 1905–1915
Machine-printed paper

On beige textured ground, allover scrolls in shades of brown.
Sidewall
, 1850–80
Block-printed on paper

Small wallpaper fragments, diamond pattern containing stylized cross-shaped four-petal flowers backed by larger cross-shaped area forming four fleur-de-lis. Printed in putty, tan and gold. Parts "a" and "b" are joined together.
Border
, late 16th–early 17th century
linen Technique: punto in aria needle lace

Border fragment of three pendants in a dense pattern of floral shapes.
Dessert Fork with Gold Plated Honeybee on Handle
Charles Victor Gibert, French, ca. 1890
gold plated, silver
fork

Four tined fork with thin tines. Plain narrow stem, continues to form long leaf turning downwards at terminal. Gold-plated bee or wasp applied perching pn leaf.
Hexagons
, late 16th–early 17th century
linen, metallic thread Technique: needle lace, interlacing technique

Two hexagons in linen and gold, pointed at either end and enclosing a centered double-tailed siren.
Jar and lid
, ca. 1830
Glass

Slender urn-shaped body, cut with shallow diamond pattern all over, a row of thin fluting top edge, wider fluting at base; fluted stem on square base cut with star on bottom; tall bell-shaped cover cut with shallow diamonds and prismatic rings, faceted finial.
Goblet
, ca. 1800
copper, silver, gold, lead
goblet

Semi-elliptical bowl on hollow seamed spool stem and circular foot; gilt interior; base filled with lead-tin alloy; "JD" engraved on foot.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine printed paper, textured

Festooned floral garlands and graduated pearl strands hang from symmetrical, abstract shapes composed of foliate c scrolls. Tattered ribbons crisscross over the garlands and run diagonally from the top to the bottom of the panel. This design is printed in shades of green, tan and gold on a beige background.
Jenny Lind Paper Doll Costume, Donna Anna from the opera "Don Juan"
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lithograph on white wove paper
Print

Paper doll costume for the figure of Jenny Lind representing Donna Anna from the opera Don Juan.  
Designed to be placed over the doll.
Warfare Illustration
, ca. 1630-1660
Engraving on paper
Print

Illustration for a book. Troops besiging a fortified town from a high position in the foreground.
Music Box
, 1870–1920
Tortoiseshell, silver gilt, feathers
box

Rectangular tortoise shell box (a) with hinged back, containing key (b). Oval, hinged and parcel-gilt medallion on top, engraved with flying crane and flowers. Catch on front of box opens the medallion and releases a small feather-covered bird on a post. The automaton beats its wings, opens and closes its beak and pivots on a vertical axis while twittering. Beneath it, a cut-out medallion with scrolls.
Textile
, ca. 1810
cotton Technique: block printed on plain weave

Design of grapes, flowers, leaves and meandering stems in brown, blue, green, yellow, red, and white.
Sampler
Maria de la Luz Garcia, 1843
silk embroidery on linen foundation Technique: embroidered in cross stitches on plain weave foundation

Sampler divided into three panels surrounded by geometric borders. At the top, an uppercase alphabet, in the middle a lowercase alphabet, and at the bottom the inscription, all in black on a white ground.
Vues d'Italie
, 1810–15
Block-printed on handmade paper
Scenic

a) Small horizontal rectangle of "sky" once hung above a door;
Design for a Painted Porcelain Plate, Le Lion (Leo) 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. Setting in a museum.  Figure of a man in a top hat, left foreground, points to a large painting on the wall of a man holding a knife above a lion. The top-hatted man is asking two ladies, right foreground, if they want an explanation of the painting--he raises his left arm to point at it. Through a doorway, left background, museum visitors view double-hung paintings on the walls.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1880–1900
Machine-printed paper, liquid mica

Square trellis format, with one large circle and grouping of smaller circles at each intersection. A branch of cherry blossoms and a beaded wreath are attached to each grouping of circles. Anglo-Japanesque style. Printed in metallic gold and mica on off-white ground.
Sidewall
J. B. Nothnagel, 1760
Block printed and hand painted on linen

Ascending serpentine design of vine tendrils and flowering branches. Two repeats to the width in drop-repeating relationship. Orange, pink, blue and white flowers, green leaves and stems with black outlines. Printed in ouline with forms (blocks?) and stencils, on linen ground. Floral patterned wachstuch or wax cloth.
Sampler
Eliza Page, 1821
silk embroidery on wool foundation Technique: embroidered in counted cross, satin, eye, stem and running stitches on plain weave foundation

Octagonal frame enclosing three alphabets, set of numbers, darning squares, verse and picture of birds in a tree with baskets of flowers. Curving floral border on outside of frame. Two darning squares, each divided into four squares, containing eight examples simulating twill and plain weave.
Verse: "Father of love o teach my voice/ with grateful accents to rejoice/ Teach me in pious strains to sing/ the mercies of my heavenly King/ Ascend then in a song of Love/ My thankful heart to God above/ Be his my voice and his my lyre/ Till voice and song in death expire."  
Signed Eliza Page worked this sampler July 4 1821.
Fragment
, late 18th century
cotton Technique: block printed (two reds, black, drab yellow) with blue and yellow applied by brush on plain weave

Nondirectional pattern of small flowers surrounded by fine leaf sprigs on a black background.
Knife with Figural Carved Wood Handle
Mortimer & Hunt, Handle ca. 1710; blade ca. 1840
wood, steel, silver
knife

Saber-shaped blade (replacement) with reeded socket. Turned and carved wooden handle depicts a female at balcony and a reverse nude female in bath. Both figures surmounted by draping swags. Carved handle terminal.
Border
, 1835–70
Block-printed on machine-made paper

Design consists of a simplified Rocaille interlaced framework with alternating stylized floral silhouettes and cartouches; printed in yellow, tan, green and black on pale blue.
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Scroll treillage in tan with rhombuses containing scrolls and red petals at the interstices, on tan ground.
Chalice cover
, late 16th–early 17th century
linen Technique: needle lace

In the center is a medallion containing the initials "IHS" surrounded by highly stylized floral forms with an outer border.
View of City Roof Tops
Arnold William Brunner, American, 1857–1925, 1879
Graphite on paper
Drawing

Clock tower or steeple, left of center, behind large building. Another steeple beyond, right.
Fragment
, 17th or 18th century
silk Technique: embossed pile on pile velvet

Red elaborate floral vine scrolls of cut-pile on background of red cut-pile in plain weave foundation, red on red.
Blossoms on a grid
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Breaking up the geometric lattice pattern are blossoms, stems, and leaves. Silk threads have been added to support the stencil structure.
Wig stand
, 17th century
Porcelain

Bulbous wig stand on a baluster stem and wide, hemispherical base. Stem painted with hanging tassels.
Sidewall and frieze
Pittsburg W.P. Co., 1896 – 1915, 1900
Machine-printed paper

Tile pattern with geometricized floral motifs inset within framework. Printed in brown on light brown ground.
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1905–15
Machine-printed on paper

On a vertically striped ground of off-white and mica, alternating green ferns repeat in columnar fashion across.
Waistcoat
, ca. 1790
silk Technique: cut voided supplementary warp pile in a twill foundation

Waistcoat of pale pink velvet with black horizontal stripes has alternating rows of hunting scenes. One row has two men on horseback, one with a French horn, with hunting dogs in pursuit of a deer. The other has a carriage drawn by four horses followed by another man on horseback. Decorated with pink and yellow-green fringe.
Fragment
, late 17th–early 18th century
linen Technigue: needle lace

Fragment with "bizarre-style" patterning including a cornucopia overflowing with large exotic floral forms. Variations on the buttonhole stitch create discrete pattern areas. Various parts of the design have a raised cordonnet, and pattern areas are connected by a hexagonal mesh with picots.
Small Knife with Fluted Ivory Handle
Joseph Willmore, 1830
ivory, silver
knife

1990-21-1: Three tined fork with curving up to sharp edged sh...;     1990-21-2: Rounded blade, baluster shaped neck, meeting bande...;     1990-21-3: Oval shaped bowl, with shell shaped decoration on ...;     1990-21-4: Rectangular box with raised beveled lid and centra...
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on pale green wove paper
Drawing

Floral border design, pink pansies, blue bells, green leaves, scattered buds on field above, on white ground.
Bottle
, 1st–4th century
Glass

Pale blue-green, iridescent squat, oblate body; trumpet-shaped neck flaring to circular mouth with molded lip.
HÉMISPHÈRE ORIENTAL
Jean Lattré, French, ca. 1722 – 1791, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Design for a hand fan with a map of the eastern hemisphere within a circle, with explanatory text lettered below. The whole is framed within an upside-down pear-shaped rococo border ornamented with flowers, acanthus leaves, c-scrolls, and ribbons. The plate is titled and addressed.
Ribbon
, ca. 1860
silk Technique: plain weave

Light blue silk ribbon brocaded in a blue and white floral pattern comprised of a curvilinear floral vine that intersects with a slender vine of small leaves.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a flowering vase decorated with gadrooning and a frieze with a female figure above, scrolling leaves, festoons of leaves, rosettes, and a hanging basket of flowers above. The plate is signed and numbered.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punch engraving, pen and black ink, graphite on off-white laid paper
Print

Scrollwork frieze surrounding a flower vase fills the top portion of the vessel.
Fragment
, 13th century
silk Technique: complementary weft 3/1 twill

Confronted birds and gazelles in yellow and red.
Two Waistcoat Designs
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Designs for two embroidered men's waistcoats decorated with floral (flowers) and feather motifs. The design to the right has front skirts and both have pockets. The plate is titled, numbered, and signed.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1897
Brush and gouache on paper
Drawing

On greenish ground, round and pointed cartouche, made up of green vines, yellow flowers, yellow hearts at the bottom.
La Mariée à la Grecque
Ennemond Alexandre Petitot, French, 1727 – 1801, 1771
Etching on paper
Print

Print titled ‘La Mariée à la Grecque', from a series of 10 plates featuring fanciful costumes inspired by Ancient Greek and Roman ornament and architectural motifs. A standing female figure wears a costume and headdress, resembling a large, lidded vase, featuring gadroon, wave and fluting ornament with Greek key friezes, garlands of flowers and laurel leaves, tassels, and ribbons. Her arms are in the shape of cornucopia of fruit, and she has a sheep head on either side of her hips. The plate is titled, signed and numbered.
Jabal al-Habis, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 24-27, 1868
Graphite, brush and white gouache on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the hill known as Jabal al-Habis in Petra, Jordan. Located beside Qasr al-Bint (known to the artist as the "Pharaoh's Palace"), the rugged hill has numerous portals, likely tombs, carved into its rugged, terraced side. The hill's contour is defined by rocky pinnacles, notably with a small, looped arch in the stone at upper center. Behind Jabal al-Habis at left is the sheer northern flank of Umm al-Biyara, the tallest mountain in Petra. At right, the steep, rocky side of another nearby mountain frames the scene. 

Verso: Landscape and architecture sketches showing two views of rock-carved tombs in the rugged landscape of Petra, Jordan. At lower left, two of the Royal Tombs are loosely sketched beneath an immense, craggy mountain. At upper right, a rugged rock in the foreground frames a view of rectangular, carved tombs in the middle distance at center, backdropped by a barren, desert mountain range.
Stage Curtain: Temple of Fame
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and brown ink, brush and brown wash, over black chalk on paper
Drawing

A view into a hall resembling the Pantheon in Rome (coffered dome with oculus resting on a curving colonnade).  Hermae are shown standing between the columns.  At the left hand side, is a monument comprised of a male bust set on a round pedestal, elevated from the ground by high base. The stream of light, coming from the oculus, shines directly upon the bust.  At the foot of the pedestal and in front of the base stands an incense burner, smoke rises above.  A small figure is tending to the fire.   At the center of the composition are three female figures, one seated and two standing.  The seated figure leans on a lyre, while the standing figures hold masks.  At the right hand side, mythological creatures chase each other.  Above the entire composition, positioned against the coffered ceiling, flies a winged figure with a trumpet and wreath.
Étagère
Julius Dessoir, active NY, 1842 - 1865, ca. 1855
Rosewood, maple, glass mirror, brass

Table is oval half-round in shape, supported on four scroll legs. Curved stretcher with openwork crest. Shaped plinth surmounted by two shelves of graduated size with shaped profile edges, supported on pierced fretwork brackets. Back of two upper shelves fitted with mirror glass. Top of second shelf surmounted by scrollwork with central escutcheon and high relief female head. Finial above head missing. Central drawer on table front, with front panel carved with arabesques and grape clusters. Interior of drawer of maple, with rectangular brass locking device.