biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
, 1905–1915
Machine-printed paper

Clusters of large pink roses on scrolling vines. Towards bottom of frieze are petite flowers printed in silhouette, creating a lace-like effect. The background shades from light tan at the top to a deeper gray color at the bottom.
Cornish Coast ocean with Boat on Horizon
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Choppy sea, boat on left horizon.
Portrait of Sir George Wombwell and His Brothers
Richard Dighton, British, 1795–1880, 1870–80
Pen and ink with watercolor
Drawing

Vertical rectangle. A gentleman on horseback seen in left profile, and two standing younger men seen in right and left profile, half-length.
Jack of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Jack of Hearts court playing card from a pack of transformation playing cards. A male figure shown in a postman's uniform, raising his hat and carrying a love letter for delivery. A red heart at upper left corner.
Sketchbook Page: Female Nude
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Small sketch of a standing female nude holding a staff in right hand. Half sheet within sketchbook (other half torn out).
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Large motif is group of three yellow poppies. Acanthus leaf scrolls between motifs, containing smaller yellow flowers of a different variety. Background contains a simulated moire design.
Spearhead
, 19th century
steel
spearhead

Small spatulate point above series of 77 projecting barbs, the whole above a tapering hollow socket.
Dado
, 1800–1850
Block-printed on joined sheets

Dado with inset panels. Printed in shades of blue and white on beige ground.

H#589
"Escepcional De La Espanola"
, late 19th century
Plated metal, enamel
Matchsafe

In the form of a hand-rolled cigar, with red and white enamelled label inscribed "Escepcional De La Espanola," reverse of label features coat of arms. Last quarter of cigar, where simulated rolled tobacco is visible, flips open as box lid, hinged on reverse. Rolled tobacco at tip likley intended as striker.
Bandbox
, 1840–60
Block-printed paper, pasteboard support, newsprint

Light, clean bright colors on yellow ground, enframed by white lace-like pattern, vignettes in pink and green depicting winged cupid shooting arrows at a bulls-eye target, behind which classically-draped maiden sits, watching; tree in background. This scene alternates with large bouquet of pink roses tied with pink ribbon. Rim fragments: Yellow background, white and deep pink lines and circles with green dots.
Fragments
, 17th century
natural linen Technique: lace of early premade tape with needle fillings

Fragments of a scalloped border formed by two alternating flowerheads. In spaces below flowers are two smaller flowerheads in an alternate arrangement.
Sidewall
, 1830–50
Block-printed on machine-made paper

Shades of brown and white architectural vistas, window, etc., with two scenes alternating. Based on style of pillar and arch designs.
Sidewall
, 1860
Block-printed paper

Brick or ashlar block pattern, alternating long and short "bricks". Each shape, outlined in green with black, contains a white motif with black pin dot highlights, on beige ground.
Mercury, from The Seven Planets
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on paper
Print

The figure of Mercury is seen moving to the left, his head turned toward the viewer. His left hand rests on his hip; his staff is held in his right hand. He is accompanied by Virgo (the Virgin) and Gemini (the twins). At upper right, the word "MERCURIUS," and the symbol for quick-silver (mercury).
Carceri Series, Plate X
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching
Print

Horizontal rectangle. A broad, vaulted chamber with figures being tortured in the left foreground. Bridges connect galleries in the background. Upper right, calcografia number 358.
Sidewall - sample
, 1906–07
Machine-printed

Two roses with buds and leaaves tied with large bow and two long ribbons, connecting to the next roses. This forms a vertical stripe formation. Single roses in geometric placement are set into background. Fine lines crossing in the background. Printed in shades of red, green, white gray and light taupe.
Wall tile
, late 16th–early 17th century
Lead-glazed earthenware

Similar to 1951-66-2
Sidewall
, 1850–60
Block-printed on continuous paper

Rococo revival-style design with full leafy foliate scrolls. The gray acanthus foliage is outlined and highlighted with metallic gold. Printed on white paper embossed with tiny diamond grid.
Frieze
Alfred Peats Company, 1905–1915
Machine-printed paper, liquid mica

Floral bouquet in vase enclosed within elaborate acanthus medallion alternating with smaller medallion with floral motif. Foliate swags suspend from top edge.
Snuffbox mounted with two miniatures
, 1768–75
Mother-of-pearl, chased gold, inlaid lacquered tortoiseshell, hand-painted watercolor on ivory, glass

Box, circular, with detachable cover; black lacquer on papier maché inlaid with all-over diaper design in mother-of-pearl with green, blue and purple iridescence; on cover, within gold frame, a hinged oval miniature of a lady in a blue gown, on ivory under glass; a concealed spring releases this and discloses a hidden miniature of a man with powdered hair wearing the blue ribbon of an order and an ermine bordered red robe, painted on ivory, under glass in a very narrow gold frame; border of cover and of main miniature gold engraved with guilloche design; plain molded gold rims; box and cover lined with tortoiseshell.
Batteur d'or, Plate I
Benoît-Louis Prévost, French, 1735–1804, 18th century
Engraving on paper
Print

Batteur d'or, Plate I.
Kain panjang (long sarong)
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Long batik sarong (kain panjang) in dark blue, dark brown, and light brown on cream-colored ground. Shows the "semen" motif of leaves, flowers, and plants evenly covering the cloth.
Sampler
, 11th–15th century
cotton, wool Technique: plain weave with discontinuous supplementary weft (brocade)

Bands of geometric pattern in brown, green and orange on a natural ground.
Miser's purse
, early 19th century
silk, metal Technique: crochet, embroidery

Crocheted black silk embroidered with small red and green squares, outlined in steel beads.  More steel beads form bars and crosses.  Side closing controlled by two steel rings; steel bead tassels at each end of purse.
Fragment
, 16th–17th century
linen Technique: withdrawn element work

Fragment in a diamond-snowflake pattern.
Plate XLIX from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Pump run by a man, upper right, moving lever to raise and lower a weight, lower left. Water running into trough below man. Bottom of well shown below. Description in Latin on verso of 1949-152-246.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1920
Machine-printed

Diaper pattern formed by repeating design of floral medallion printed in pale yellow on mustard yellow ground.
Catafalque of Louis Boucherat, Second State, St. Gervais, Paris
Jean Berain, the elder, French, 1640-1711, 1699
Engraving in black ink on paper
Print

Vertical rectangle. The catafalque is shown on a high platform, with a balduchin over it. Crowds of mourners to left and right. Below, artists' names.
Chalice cover
, late 17th–early 18th century
linen Technique: needle lace

Chalice cover of elaborate candlestick pattern.
Border
, 1790–1820
Block-printed on handmade paper

A band of egg motifs enframed in ovals of simplified foliage. At the bottom runs a band of elongated lozenges end-to-end. Printed in grisaille and tan on black ground.

H#364
Six of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Six of diamonds playing card from a pack of transformation playing cards. Vertically, a figural scene depicted in outline. At left, a group of spectators viewed from behind, looking up at carnival-like performers on a level above. At right, musicians playing a drum and a trumpet. They are accompanied by a circus strong man. Red diamonds integrated into the scene.
Bandbox
, 1845–50
Machine-printed paper, pasteboard support, newsprint

Bandbox bottom covered with machine printed wallpaper. On light brown background, white and darker brown leaf design, edged with pin work, enframing castellated buildings. Bottom covered with newspaper reporting events in Michigan of 1844-45 and mentioning the Mexican War (1846-48).
Embroidered picture
, 1654
silk, glass beads, pearls Technique: beads sewn on individually and as applique of pre-made shapes, on 4/1 satin foundation

Woman in center surrounded by scattered animals and plants, all in beadwork.
Sidewall
, 1840s
Block-printed on paper

Against a glazed white ground are printed regularly spaced clusters of conventionalized blossoms and foliage in two values of green, possibly arsenic. An all-over design of serpentine vines with small blossoms and foliage in gray is printed between the green clusters.
Fork
Herder, ca. 1690
ivory, steel, silver

Four-tined (uneven lengths), squared shoulder, flat lobed baluster neck. Silver ferrule engraved with floral sprays. Ivory handle, oval in section, tapered toward tines, carved in relief with stylized lion and unicorn on plinth. (English royal supporters?)
Band
, 17th century
linen Technique: bobbin lace, continuous braid-like

Band fragment with a central pair of continuous running lines that form circles containing rosettes. Between the circles are smaller half-circles filled with rosettes.
Three Landscapes, Design for Washington Board of Trade Dinner, May 13, 1908
James Henry Moser, Canadian, 1854–1913, 1908
Pen and black ink, graphite on thin board
Drawing

Large river with a wide waterfall into a lake, upper left. Below, center, mountains with a narrow river curving beneath them. Bottom right, a tropical beach with palm trees.
Fragment
, 200 BC–200 AD
wool Technique: embroidered in stem stitch on plain weave foundation

Fragments of a standing human figure wearing a mask, headdress and holding serpent staffs. Completely embroidered in strong colors.
Dining Hall, Asylum, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Long, bare hall with stone floors and long tables. Women, dressed alike, sit eating in rows. Iron bars around the fireplaces. Title, artists', and publisher's names below.
Textile
, ca. 1800–30
cotton Technique: printed by engraved roller on plain weave; glazed

On white ground, in red, sepia, blue with traces of yellow (double-green), two bunches of flowers separated by vertical "pillars" of row of buds and leaves flanked by thin, very wiggly columns.
Study of a Statue, or Cast
Arnold William Brunner, American, 1857–1925, 1878
Graphite on light brown paper
Drawing

Sculpture, nude man reclining to left, over a sword—possibly a study of The Dying Gual.
Mantle Clock Supported by a Hotei ("Laughing Buddha")
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 1740–45
soft paste porcelain; enamel, brass, steel, glass, bronze, gold, porcelain
clock

A white porcelain figure of Budai on a gilt bronze four legged base; circular clock in bronze housing covered in small white porcelain flowers on top of  figure's head.
Sidewall
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1907
Machine-printed paper

On speckled white-gray ground, treillage in green scrolls with motifs in gold and green in shapes of acanthus leaves and foliage.
Ornamental detail with botanical motifs
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ornamental detail with botanical motifs
Side chair
, mid-19th century
papier mâché, parcel gilt black lacquer, mother of pearl

Shaped rectangular back with an arched splat inlaid with a flower-filled basket between barley-twist turned stiles headed by finials and a serpentine caned seat, on cabriole legs with scroll feet.
Bamboo Stalk
, late 19th century
Patinated and gilded copper
Matchsafe

In the form of a bamboo stalk with raised, partially gilded, foliage decoration on front, and two small, raised birds on reverse, one of which is gilded. Lid is hinged on side. Striker on bottom.
Textile
, 1830–1840
cotton Technique: roller and block printed on plain weave

Fantastical variation on the pillar print has a curved staircase with heavy balustrades supporting large urns of flowers. At the foot of the stairs is a tropical landscape of water, rocks and a palm tree.
View of the Decoration of a Dome for the Manufacturers and Liberal Arts Building of the World's Columbian Exposition, Chicago
J. Carroll Beckwith, American, 1852–1917, 1892
Printed on sensitized paper
Photograph

The theme is "Communication." Center, Ariel holds burst of lightning. At corners, four figures symbolizing Telephone, Telegraphy, Electricity and Solar Power.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Roughly circular shapes composed of scrolls made of dashed lines, floral motif in the center of each. Printed on light ground.
Sketchbook
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Inside cover of sketchbook.  Sketch of a bench, with other geometric designs.
The White Plume
Cephas G. Childs, 1793–1871, 1830
Lithograph with black ink on India paper
Print

Vertical rectangle. Three-quarter length figure of a woman, seen from the back. Her head is shown in profile, facing right, wearing a large brimmed hat trimmed with white plumes.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern formed with S scrolls, with circular shaped at intersection composed of C scrolls with floral motif in center. Smaller C scroll circular shape centered in each void. Printed on off-white ground.
Elevation of a mansion for the marchese Genzani
Filippo Marchionni, Italian, 1732–1805, ca. 1780
Graphite, pen and ink, brush and wash on laid paper
Drawing

Three stories, basement, mansard; seven bays. The outside bays project slightly and are rustic. The windows of the basement are connected by crenellated band. The pediments of the French windows in the two upper stories are alternately triangular and circular. The coat of arms of the marchese is in the center. Inscription in the frieze of the doorway: "IO. IACOB. MARINI MAR. GENZANI / MAGNAS HISPANIAR [um]." Straight molding on top. Bottom: scale.
Fragment
, 4th–6th century
Warp: S-spun linen. Weft: Z-spun linen, Z-spun wool. Technique: slit tapestry

Monochrome type, dark brown wool and undyed linen.  A cloaked warrior with a sword and shield is seen in three-quarter view stepping up to the right. The figure is framed within an arch against a field of vegetal motifs and regularly spaced dots.  Below this figure two partial roundels or arches can be seen.
The Battle
Victor Vincent Adam, French, 1801 – 1866, 1835-1840
Pen and ink, brush and sepia wash on paper
Drawing

Vignette of Turkish troops in center with the smoke of battle rising about them. Two officers on horseback, right foreground; another stands, left, holding an upraised sword in his right hand.
Design for a Brooch
Carlo Ansorge, German, active Rome, 1800–89, 1860–65
Pen and brown ink, watercolor, graphite, ruled borders in graphite on white wove paper
Drawing

Top drawing in image.At left: In the center is a freamed circle with a white cross, it's top red.  Framed is lozenge shape.  In the corners are small circles, with white stars upon blue, connected with a kind of knot.  At right:  a central cross is similarly framed.
Design for Salt Cellars
, 1815–1840
Graphite, pen and ink on paper
Drawing

Page divided horizontally with two lines of salt cellars. The bowl of each decorated with gadrooning. The base composed of scrolling forms and animals.
The Jailbird, Illustration for "Königl: Grosbrit [anische] Genealogischer Kalender auf das 1780 Jahr Lauenberg bey J.G. Berenberg"
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Stipple and line engraving on paper
Print

A prisoner lying on the floor of his cell gazes at the jailer, who enters. The poem says that the jailer does not speak and hurries away. How dreadful that the only man seen shows no sign of commiseration.
Study for Illustration
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite, black and brown crayons on paper
Drawing

A man in a bathing suit is shown in profile, sitting and reading. His head leans on the left hand. Separate studies above and below: two for the fingers of the right hand, three for the right foot, and one for the left knee.
Fragment of a cartoon for cotton printing: Neptune or L'Empire des Mers
Petitpierre & Compe., (Nantes, France, founded 1770, 1794
Black chalk, pen and black ink, brush and grey wash on white paper
Drawing

Design of one of eight scenes. Center, lighthouse on rock foundation. Left, ship in distress. Upper right, small sailing vessel in quiet waters.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-26: Part of a set of Italian Minchiate playing cards.50
Rocaille Ornament Designs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white laid paper
Print

Rocaille ornament design motifs featuring scrolls, rinceaux, branches. The plate is signed and numbered.
Children Playing With a Satyr
Raymond Lafage, French, 1656–1684, ca. 1680
Engraving on paper
Print

In the center, a child riding on a kneeling satyr. Another child kicks the satyr. At right, a bacchante dances in front of a herm. Several other figures around. At left, trees; in background a mountain.
The Grand Turk Giving A Concert to His Mistress
, 1825–26
Block printed on handmade paper
Overdoor

Horizontal rectangle, on two joined sheets of paper, printed in brilliant colors. Architectural background of plinths and lower portions of columns, against which a quartet plays music to which a woman, and three men in Oriental costume, listen.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates of designs for vertical panels or pilasters. The left plate has three designs, decorated with, from left to right: architectural decoration with sphinxes; an Atlas supporting a trophy and a winged gorgon head; and an architectural decoration with mascaron and portrait. The right plate has three designs decorated with, from left to right: a male term holding a flag-bearing putto on his shoulder; a grotesque column with father time holding aloft a portrait medallion above which is a horn-blowing angel; and a grotesque with a female caryatid on top of which is a putto holding a trophy. The plates are both signed and numbered.
Sampler
C. H. S., 1724
silk and cotton embroidery, linen foundation Technique:

Divided into two sections. First section has a Crucifixion, secular scenes, floral motifs, and a wreath with the initials "C. H. S. 1724." Second section: Alphabets, numerals and cross borders in geometric and floral designs.
Design for a Mantlepiece and Overmantle
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a mantlepiece and overmantel. A curved marble mantlepiece with an overmantel mirror framed by two long vertical panels, carved with floral fretwork, acanthus leaves, fleurons, C-scrolls and margent ornament, with two wall mounted candelabra, supported by winged putti in the middle of the side panels. Above the semi-circular top of the mirror is a carved panel featuring carved molding, a cartouche, framed with shell ornamented with gadroons, acanthus leaves, fleurons and dragons on either side, with a frieze of floral fretwork above. The plate is signed and numbered.
Lucrecia (Modesty and Virtue), Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Champans and Scenery along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Mixed sketches along the Magdalena River in Colombia showing views of river boats known as champans, trees, and an inlet. At right, two champans are shown in profile, with the lower one manned by twelve figures--eight of whom stand atop the boat's covering and push it through the water with long poles. A fire burns out of a hearth on the boat's bow known as a fogon, an sends smoke into the air. At left, two trees with tall, thin trunks and sparse canopies are shown. Along the upper margin at left, a view of a river inlet is shown. Distant, rugged mountains are visible in the background.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with four plates of cartouche designs. The plate in the upper left also serves as the title page of the series, with the text inscribed in the center of the cartouche with a trumpeting angel and winged putto. All plates are numbered; all plates except for the upper left plate are signed.
Fight between Elephants and Snakes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Recto: pen and brown ink, brush and black wash over black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: Landscape with an elephant wrestling with a serpent in the foreground. The serpent grasps the trunk of the elephant between its jaws. At right, another serpent, coiled about a tree, threatens an elephant standing behind a tree at center.
Verso: Italian inscription relating to the recto.
Sugar Bowl and Stand, from a Dessert Service (Sucrier et son Plateau)
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1735
soft paste porcelain, vitreous enamel
sugar bowl and stand

Four-lobed, decorated with insects and branches of blossoms in the "Korean" style.  Rim of tray decorated with brown band. Cover with handle of three petunia-like flowers, and notched for ladle.
Part of Goat Island, Niagara River, New York
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing Horseshoe Falls, Terrapin Tower, and the eastern part of Goat Island from the Canadian bank of the Niagara River. The waters of the river extend from foreground to middle distance, where they cascade over the falls. The Terrapin Tower is shown at center left perched atop the edge of the falls. Stretching across the composition, the heavily wooded eastern portion of Goat Island is rendered in some detail. An observation pavilion is visible at left near Terrapin point.
Border
, 16th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

Border fragment with diamond-shaped areas filled in with needle lace. Tiny openwork squares are grouped in between diamond-shaped areas. Pointed lace border.
Sailing Ships in a Bay
Lodewijk Gilles Haccou, Dutch, 1792 - 1830, 1810–1825
Brush and watercolor on paper
Drawing

One of the ships lies near the coast in the first plane. A rowing boat with a s tanding man in it is beside it. A big ship flying the Dutch flag is shown in the middle plane. Other ships are in the right background.
Design for a Cartouche with Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment, the latter of which contains the title of the series. The upper compartment contains a vignette of a man pushing a woman on a swing suspended between two trees, in a landscape. The cartouche is comprised of rinceaux, scrolls, shells, and flowers. The plate is signed and numbered.