biglam/cooper-hewitt-alt-text huggingface dataset:
Apotheosis of Saint Francis
Peltro William Tomkins, British, 1760 - 1840, 1806
Stipple engraving on brown paper with white highlights
Print

Saint Francis being lifted to Heaven by four angels, his palms outstretched, his attention turned on high. Above his head, putti, two of whom hold a crown for Saint Francis, mingle with clouds.
Bandbox
, ca. 1830
Block-printed on paper, pasteboard support

Woman in Roman chariot drawn by two horses. White, pink and brown on shaded field of buff and blue.
Surtout
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a centerpiece in the form of an arm with branched candle arms comprised of rinceaux. The urn has a floral finial; at its base are branches, grape vine, and scalloping. The base is supported by feet of scrolls. The plate is signed and numbered.
Sampler
Maria Lamborn, American, 1827
silk embroidery, linen foundation Technique: embroidered in cross, satin, chain, rococo, knotting and stem stitches on plain weave foundation

Flowering branches growing out of a basket at the center bottom form a heart around a verse and inscription.
The verse reads: 
Extract
When beautys charms decay as soon they must 
And all its glories humbled in the dust 
The virtuous mind beyond the reach of time
Shall ever blossom in a happier clime
Design for Ceiling Decoration, Four Allegorical Representations
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Upper row: at left, four boys with geometrical instruments. Framing lines at right and below. At right: a sitting bow, with a cornucopia. Beside him is a crouching lion. Framing lines. Lower row, at left: a boy sits beside a globe. He raises his right hand with a compass. Beside him are a cornucopia and an eagle. Framing lines except at left. At right: a boy sits upon the earth looking at the sheet with mathematical figures he holds with his right hand, and holding with his left hand the leash of a dog. Framing lines.
Drawing
Felice Giani, Italian, 1758–1823, 
Charcoal, brush and sepia on paper

A seated woman is handed a vessel from one of three women standing around her. Tiled floor beneath her and view of landscape at left.
Mountains by Moonlight, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, probably April–October 1853
Oil and graphite on cardboard
drawing

Landscape sketch showing a nocturnal view of Andean mountains in Colombia or Ecuador. In the foreground, cattle graze on a green pasture beside a shallow stream at lower center. A house is shown in the middle distance at right, situated on brown, rolling terrain that extends to a rugged and cloud-capped mountain range in the background at center. One of the region's volcanoes--possibly Cotopaxi, Chimborazo, or another--is visible in the extreme distance at left, as its snow-capped peak reflects the moon's light. The full moon glows radiantly in a mostly clear night sky, and illuminates several puffy clouds. The brick-colored ground is visible along the lower margin.
Wayside Shrine near Abtenau, Austria
Frederic Edwin Church, American, 1826–1900, August 5, 1868
Graphite and white gouache on gray wove paper
Drawing

Landscape sketch showing a view of a wayside shrine in the mountainous landscape between the towns of Golling and Abtenau in Austria. Viewed obliquely in the immediate foreground at right, the shrine is topped with a rounded cross and decorated with a crossed-key motif. In the background at left, a rugged, rocky ridge is shown through a break in nearby, wooded mountainsides. The slope at right is extremely steep.
Study of a Goat
Jean-Baptiste Huet, French, 1745 – 1811, 1772
Pen and brown ink, brush and brown and gray wash, red-brown watercolor on white paper, ruled border in pen and brown ink, lined
Drawing

Close up study of a standing bearded, horned goat, facing left.
Wooded Landscape
Frederic Edwin Church, American, 1826–1900, June 1844–June 1846
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a lush wooded landscape, possibly in or near Catskill, New York. In the foreground, a large deciduous tree with a billowing canopy frames the view at right. At left, a built-up row of trees and other vegetation extends obliquely from foreground to background. A clearing or meadow, possibly with a creek or brook, is shown extending into the distance at center.

Verso: Figure sketches showing a group of four figures at upper right and one isolated figure at upper left. At right, two individuals stand over an infant while another figure, seemingly a woman, faces them. At left, the same figure appears to be reproduced. This scene is likely copied from a religious painting.
Three Putti: Design for a Grisaille Painting
Jacob de Wit, 1695 – 1754, ca. 1750
Graphite, brush and wash on heavy blue paper
Drawing

Two putti, of whom one holds a fool's staff, dance to the music of a flute played by a third putto. The scene is set against an architectural background.
Design for a Brooch
, 1825–50
Pen and ink, brush and watercolor on paper
Drawing

A laurel wreath entwined with a knot. In the center, a round diamond. hanging belowm a drop-shaped diamond.
Evergreen Tree, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September and July 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Botanical sketch showing an isolated view of an evergreen tree with a forked trunk in Catskill, New York. The tree rises along the composition's central vertical axis. Generally speaking, its branches are evenly spaced as they go up.

Verso: Landscape sketch showing a loosely rendered view of a rudimentary wooden bridge crossing a stream in Catskill, New York. In the foreground at lower left, the plank bridge extends obliquely to the left as it spans the stream below, which curves around a group of trees at right. Trees and leaves throughout are loosely articulated.
Wall Elevation
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Wall elevation.
Fragment
, 11th–12th century
silk Technique: compound twill (samite) Label: silk compound twill

Fragment of woven silk containing six pearl roundels, in sky blue and dark green on a red ground. The top two roundels enclose confronted elephants, the middle two addorsed senmurvs, and the bottom two confronted hippocampi. Four-lobed rosettes with elaborate floriated edges in interspaces.
The Acropolis from Mount Lycabettus, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Oil and graphite on paperboard
Drawing

Landscape study showing a view of the Acropolis from Mount Lycabettus in Athens, Greece. In the foreground, the hillside ascends from left to right with its peak at extreme right. In the middle distance at center left, the Parthenon and other ancient structures are visible atop the acropolis. Between the two prominences, the city buildings of Athens are loosely rendered. Beyond, the port city known as Piraeus is shown along the shoreline while, in the background, coastal mountains are visible across the Saronic Gulf.
Upper part of chair back
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Upper part of chair back.
Rising Sun
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, white disk at center, surrounded by ring of pierced stars. Radiating toward circumference of the pattern are thirty-two white rays, alternating with thirty-two pierced clear rays. White rays are tinged with pink at their notched extremities.
CHAISE DE POSTE
Richard de Lalonde, French, active 1780–96, 1780-1796
Etching on off-white laid paper
Print

Design for the front and profile of a single-person sedan chair decorated with ornament motifs including bead course, lamb tongue, trophy, pinecone. The plate is signed and numbered.
Sketches for “The Hen and the Sailor” in “Comic Fables, Out of The World Series”
Frederick Stuart Church, American, 1842–1924, ca. 1878
Graphite on paper
Ephemera

Upper left, profile of chicken with neck outstretched and umbrella under wing. Upper right, profile of figure sitting on the ground with scissors in right hand, sock in left, cutting sock.
Of Making Sallies, and the Method of Repulsing them, from Twelve of the Most Remarkable Sieges and Battles in Europe
Carington Bowles, British, 1724 - 1793, ca. 1760–1770
Engraving on paper
Print

Soldiers are seen in formation making sallies from a fort thrown up before a town. Wounded being collected in the foreground. Inscribed below: "Of making SALLIES, and the method of repulsing them", followed by a two-line description, and below: "printed for and sold by Carington Bowles, at his Map and Print Warehouse, No. 69 in St. Paul's Church Yard, London"; in the upper right corner, the number "2".
Unwinding the silk cocoons
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Engraving on paper
Print

Horizontal rectangle. View of women sorting and unwinding the cocoons and giving them the various stages of preparing the silk for weaving it, etc. Below the print caption in Latin: "Hinc vermium permullà saepe millia. Simul legunt parant ez telas feminae." "Cognes ramassées et mises dans une espèce de chaudière avec le Dividoir pour lever les soyes."
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Brush and purple watercolor with white gouache, graphite on paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew. Facing forward with raised and extended arms. A glory of rays behind the head and shoulders.
Hercules Killing Nessus
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. Hercules, at left, has just shot an arrow into the back of the Centaur, Nessus, seen at right. Rocks and trees in background.
Textile
, 18th–19th century
silk Technique: plain compound satin weave with supplementary weft

Off-white silk satin brocaded with multicolored floral branches and flower sprays.
Classical Scene
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and white gouache, graphite on cream paper
Drawing

Athena appearing in a dream to a woman asleep on a couch. Attendants asleep below, left and right.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1795
Pen and brown ink over traces of graphite on cream laid paper

An Amor pulls Helen toward the bed. A flying cupid with bow aims at her. She has put her right arm around the shoulders of Paris who is in armor and and points with the left hand at the bed. View in a park is shown at left.
Stand
, 1736–95
stone, nephite, rosewood

Jade mountain with stand: a) greenish-white nephrite with patches of orange-brown carved on obverse to depict monkey holding peach immortality and seated beneath tree on which peaches grow. b)  four-footed rosewood stand.
Fragment
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Curving vine with pomegranates and leaves.
Fragments
, 18th century
silk Technique: plain compound weave with discontinuous, supplementary weft (brocaded)

Large-scale flowers and saw-toothed edged foliage on dark green background.
Square
, 3rd–4th century
Warp; S-spun Z-twist linen. Wefts; S-spun linen, S-spun wool. Technique: slit tapestry with supplementary weft wrapping and supplementary weft loops

Purple square at the center filled with geometric tile-like pattern. Edged with border of senna knot loops.
Textile
, ca. 1890
silk, linen Technique: compound satin weave

Upholstery fabric of unbleached linen woven with gold silk in a design of formalized flowers and leaves arranged in vertical stripes.
Study for "Charity," St. Bartholomew's Church, New York, NY
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Brush and watercolor, gouache, graphite on paper
Drawing

Sketch of a seated female figure holding a young child.
Printing block
, 19th century
wood, metal

Design of curving plant forms made by metal nails which would print in picotage effect.
Fragment
, 17th century
silk Technique: 7&1 weft patterned satin

Deep scrolling border on red satin fabric with patterned white stripes.
Vignette with Angels and Instruments of the Passion
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

In the manner of high reliefs. A flying angel shows the nails to cherubim.
Fragment
, 17th century
Medium; linen, silk, wool Technique: two fabric structures, plain weave patterned by plain weave

Flowers with four petals and diagonal leaves.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Fragment wtih a small-scale meandering floral design. Oval scrolls on the edges have decorative filling stitches. Vrai droschel ground.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a large blossom. Inner petals in a diamond diaper pattern. Outer petal deeply and irregularly scalloped.
Livery trimming
, 18th century
silk, metallic thread Technique: woven

Design of a shield showing a griffon above blue and white bands placed diagonally and surmounted by a crown.
Traveling cutlery set
Chez Aucoc, France, established 1821, 1819–1835
Lined leather, silver, iron, ivory (possibly synthetic)

1985-103-280-a/j: a) leather outer case? marked: A Paris /chez Aucuc...;     1985-103-281-a: Barrel-shaped red leather case with stamped gold d...;     1985-103-281-b: Plain silver cup with flaring rim, decorated with ...;     1985-103-281-c: Red leather holder with stamped gold decorations f...;     1985-103-281-d: Blade has straight sides, upper edge tapering towa...;     1985-103-281-e: Oval spoon-bowl with pointed tip, flat slightly ta...;     1985-103-281-f: Fork has four slightly curved tines, rounded shoul...;     1985-103-281-g: Small cork screw with knob on top with hole throug...;     1985-103-281-h: Cylindrical horn and ivory container consisting th...;     1985-103-281-i: Cylindrical horn and ivory container consisting th...;     1985-103-281-j: Cylindrical horn and ivory container consisting th...
Les Soirées de Rome Déssinées et Gravées Par Robert, Peintre de L’Académie, 1er Cahier
Hubert Robert, French, 1733 – 1808, 1810–29
Album

Two series of prints depicting views of Rome and its classical ruins with figures, inspired by Hubert Robert's visit to Rome. This was originally published as a single series in Paris by Wille in 1763-64. The plates are numbered and some are signed. Bound in a red leather binding with gilt tooling and marbled endpapers.
A Boatman after The Victory of Leo IV over the Saracens, after Raphael
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink (iron gall ink) on off white laid paper
Drawing

A young man in a boat, his weight on one foot. Water with ships in background.
Three South-Italian Women
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Two women are standing, the third sitting near a fountain, in a cave. A boy is giving something to the seated woman.
Sampler
Mary Fitz, American, born 1807, 1819
silk and human hair embroidery, cotton foundation, silk ribbon Technique: embroidered in cross, half cross, satin, stem, rococo, feather and buttonhole stitches on plain weave foundation

Central scene of two women, one standing, and one seated on a bench beneath a grape arbor. Border of sixteen squares containing birds, flowering sprays, baskets of flowers, boys at play, a house, and, at the bottom center, the inscription. With a border of green silk ribbon.
Day Couch for Mrs. Allen's Boudoir, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

At center of page, two colored drawings of day couch, one on the right is from the front, one on the left is of the right side. Lower right, colored drawing, there is a graphite drawing of the day couch from above.
Border
, early–mid-19th century
silk Technique: woven

Multi-colored design of tulips and other flowers arranged on a curving stem on a gray ground with a white border.
Border
, mid-18th century
linen Technique: bobbin lace, Binche style with Binche ground

Border of Binche-style lace with an asymmetric, running floral pattern.
Title Page
François Boucher, French, 1703–1770, 1772-77
Engraving on laid paper
Bound print

Folio 1, plate 1 of a series of 7. Design for a fountain. Rocaille cartouche imposed upon a monument with two surrounding putti.
Plate 2, "Decoration de cheminée pour un grand Apartement"
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

Printed from two plates. A) a richly decorated fireplace with a mirror set into a shallow niche. Decoration: foliage, flowers, putti, and a painting representing the birth of Venus in the upper part of the mirror. Candlesticks with putti on mantlepiece. B) profiles of wall with legend. Inscribed along lower margin of A: "Decoration de Cheminée, accopagnée … une Gallerie"; along lower margin of B: "A Paris chez Mariette … d'Hercules"; lower left: "2".
Design for Mahogany Sideboard with Neo-Classical Motifs
A.N. Davenport Co., January 6, 1902
Pen and black ink, graphite on thin cream paper
Drawing

Sideboard with four straight tapering legs (the front two with fluted tops) and semi-circular front - flat in middle portion - with two horizontal drawers with "C"-shaped handles; neo-classical motifs on rounded front corners and center back; upper shelf raised on scroll-shaped volutes.
Frame with Cherubs
, 1744
silver
frame

Oval frame repoussé scroll work and for applied winged cherubs at top bottom, left and right. Four long screws that attach cherubs to frame project from reverse.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1809
a.) paper and textile swatches (fibers not identified)

Component "a" is a page from Ackermann's Repository No. IV, April 1809. Page contains printed graphics and two textile swatches: a swatch of red and blue block printed fabric and a swatch of white woven fabric. One swatch missing.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto continues the description of the Char de Mars (Chariot of Mars, 1921-6-207-24) and begins a description of the Char de l'Hymen (The Wedding Chariot, 1921-6-207-25), which were designed and paraded during the celebration given by the city of Paris on February 13, 1747, on the occasion of the marriage of Louis Dauphin and Marie-Josephe of Saxony. The verso continues a description of the Char de l'Hymen and gives a description of the Char de Cérès (the Chariot of Ceres, 1921-6-207-26).
The Milk Woman
Louis-Marin Bonnet, French, 1736 - 1793, 1774
Engraving and etching in the crayon-manner in blue, black and red ink over gold leaf, on off-white laid paper.
Print

Portrait of a young woman, facing front, presenting a gilded milk can. She wears a frilled bonnet and a plaid dress with a low neckline.
Borders
, 1795–1804
cotton Technique: block printed on plain weave

Two pieces of the border of a 'Pompeian Style' printed fabric. Similar to 1995-50-251-a,b but a different design. The field had a design of animal spots. Two reds and black on a strong yellow.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Design of red linked and overlapping circles; yellow and blue background, framed by red.
Album of Prints: Frame Designs by Various Artists
Jean-Baptiste Fay, French, active 1765 – 1790s, 18th century
Album

Album of prints containing designs for ornamental frames or cartouches by various artists. The majority of plates are unsigned.
Waistcoat
, mid- 18th century
silk Technique: embroidered

Gentleman's waistcoat of off-white taffeta in a collarless, cutaway style and shaped pocket flaps. Embroidered in multicolored silks. Body has lattice arrangement of sprigs, flower buds and X-shapes while center front has a floral vine decoration. Pocket flaps have ribbon garlands over a gazebo-like structure. Below flaps, white birds, flowers and floral garlands.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Fragment of cut and uncut green velvet in a pattern of palmettes enframed in a hexagonal lattice. Palmettes alternately face up and down.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Alternating lace-like vertical band of moiret pattern and band of flower and wheat bouquets. Ground is light green. Printed in white mica, white, green, and tan.
Textile
, late 18th century
silk Technique: satin weave with discontinuous supplementary weft

Delicate meandering sprays, rose vines, small bouquets of roses, and cornflowers are tied with narrow blue ribbons on an off-white ground.
Frieze
, 1905–1915
Machine-printed paper

Design entirely rinceau, some in a fleur-de-lis shape. Bottom edge border of silhouettes of fleur-de-lis. On a pale yellow field with vague indication of a woven pattern. Printed in gilt, white, pale green and pale yellow.
Bottle
, ca. 1810
glass
bottle

Oviform body on splayed faceted foot, with flared lip and pouring spout; cut diamond band center, flat vertical facets above, twisted flutes below, scalloped lip rim; cut spiral fluting top of stopper.
Peter and John Healing the Cripple at the Gate of the Temple
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1659
Etching on laid paper
Print

An archway in the foreground; SS. Peter and John stand above the figure of the crippled man, left foreground. Groups of figures to the left and right in the background.
Sampler
Ysabel Mancilla, 1880
wool, silk, and cotton embroidery on cotton foundation Technique: embroidered in cross, satin, double running, and aztec stitch (withdrawn element work) on plain weave foundation

Bands of geometric and floral pattern, confronted birds, and two scenes, in coarse and fine stitching.
Sidewall
, 1850–1900
Machine-printed

All-over pattern of fine lines simulating a textile weave. Printed in brown and red on tan ground.
Sidewall
, ca. 1900
Embossed paper

Art nouveau-styled design with repeating pattern of wheat shafts, printed in earth tones.
Metropolitan Fair Building, New York
, 1864
Wood engraving on paper
Print

The metropolitan fair building on 14th street at right. It is provided with signs: "Arms and Trophies," etc. At left side of 14th street, houses and a church. Figures in foreground and background.
Alexandria Bridge, Chickamauga
Harry Fenn, American, 1845–1911, 1887
Pen and ink on paper
Drawing

Wooden bridge shown from the Confederate side of the river.
Demitasse Spoon with Centipede
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form hierarchical lobed leaf with downturned tip. Centipede applied to end of leaf with body curved on the diagonal and hanging off edge of leaf.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of figures with decorative letters.
Sketches of Heads
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper; verso: green paper
Drawing

Sketches of women and men in hats. Top, sketches of heads drawn from behind. Bottom, sketches of heads drawn in profile.
Candle Snuffer
Thomas Radcliffe, English, 1823
silver
candle snuffer

Silver candle snuffer with handles decorated in a beaded pattern. Each handle has a tang with incised lines, a smooth finger ring and a handle with a beaded border, two open channels and a center extended lozenge shape. The hinge is capped with a circle with a beaded border. The interior of the wick receptacle is marked, and the blade ends in a dart shape.
Textile
, late 18th–early 19th century
cotton Technique: block printed

Fragment of block printed cotton in green, brown and red on light brown ground. Pattern allover showing stylized floral bouquet.