biglam/cooper-hewitt-alt-text huggingface dataset:
Sidewall
, 1870–80
Machine-printed

This design is a large scaled formal one. It simulates a damask design of stylized acanthus scrolls and roses. The field is crossed with fine parallel horizontal lines.
Design for Stained Glass Memorial Window to Thomas J. Post
Robert Winthrop Chanler, American, 1872–1930, 1919
Pen and black ink, brush and opaque watercolors on tissue paper (mounted)
Drawing

Vertical rectangle depicting an angel that holds a torch in his right hand, and rests his left hand on a shield bearing the inscription: "THOM. J. POST AT REST AFTER A LONG LIFE OF INDUSTRY THRIFT AND SOBRIETY".
Two Halves of Escutcheons, No. 14 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 14 of the same set as -10, "Raccolta di varii cappriccii," etc.
Siloam and Jerusalem from the Mount of Olives
Frederic Edwin Church, American, 1826–1900, April 1, 1868
Graphite on gray-green paperboard
Drawing

Landscape sketch showing a view of the neighborhood of Siloam beside the eastern walls of Jerusalem, visible at right, as seen from the Mount of Olives. The view faces southwest and overlooks the Jewish Cemetery, which covers a sloping hillside in the foreground just beyond nearby pear and olive trees. In the middle distance at center, the buildings and trees of the Siloam are shown situated in a shallow valley. Rolling terrain comprises the horizon, leading to a partial city skyline in the background at right.
Border
, mid-19th century
linen Technique: bobbin lace appliqué on machine net

Floral sprays above border of scrolls separated by individual flowers and leaves.
Design for Two Chairs
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, pen and black ink, graphite on white laid paper, ruled border in pen and black ink.
Drawing

Left: Chair with sloped back, pierced horizontal panel, center medallion repeated on seat.  Back legs curved, mask motifs at joint. Front legs decorated with five circular elements. 
Right: Chair with splayed legs, convex back, upper rail upholstered in green with scene of classical figures in white. Green upholstered seat.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace decorated with ornament including fluting, rosettes, and bound leaf. The plate is signed.
Buckles (2)
, late 19th century
Silver gilt, turquoise, coral, glass

(a) Central ornament with leaf-shaped piece at either side. Raised ornaments of small pieces of turquoise and red glass; pendant ornaments of coral and silver gilt arranged in groups; (b) similar to (a) but slightly different design.
Church and a Tree, Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on off-white wove paper
Drawing

Architecture and landscape sketch showing views of a church and a tree in Mexico. A church with a white facade and a tall, square belltower is shown obliquely in the middle distance at center, while a separate sketch of a tree with a wide canopy and animals beneath it is included at center right.
Iceberg Panorama, Canada, Part Two
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on gray-green wove paper
Drawing

Seascape sketch showing the second part of a panoramic view of an immense, craggy iceberg near the coast of Newfoundland and Labrador, Canada. Filling the sheet, the iceberg has a sharp peak at right and sheer, cliff-like edges all around. Visible at left is another portion of the berg, with an undulating top. Its craggy ridge continues out of frame at left.
Three Designs for Altar Candlesticks for a Jesuit Church
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, brush and watercolor, graphite on paper
Drawing

Horizontal rectangle. Designs for three altar candlesticks for a church of Jesuits. Intended  to be executed in gilded metal and blue and green marble. All have below pairs of lions upon a base. Those in the left design sit upon their hind legs and lean against a tower which has a tree in front. Those in the center sit beside a tree, raised up on their front legs. Those at right sit upon their hind legs and hold a festoon in front of a closed tower. The tree is up on the tower. Above these feet are spheres with the monogram of Jesus over three nails. At left: two angels with instruments of the Passion in their outside hands, kneel upon clouds and carry a conical shaft of a round pedestal, upon which a bowl stands with the socket. Festoons and cherubim decorate the pedestal. Center: the angels kneel upon clouds beside the tower and raise a column with a variation of the uppermost motif, at left. At right: the angels sit upon clouds and raise with their inside hands the shaft of a column. Another variation of the top motif is above.
Galerie métallique des grands hommes français (Great Men of France)
Alexis Joseph Depaulis, French, 1792 - 1867, 1818
Cast bronze
Medal

Bust of Prosper Jolyot de Crébillon (1674 -1762).
Rainbow over the Mediterranean with Figure Sketches, Beirut, Lebanon
Frederic Edwin Church, American, 1826–1900, January 1868
Graphite on white wove paper
Drawing

Mixed studies around Beirut, Lebanon showing views of a seascape and three partial figures. At left and center, a rainbow arches over the waters of the Mediterranean Sea, with a steamship floating in the foreground. At right, three unfinished studies of figures shown from the rear are visible.

Verso: Mixed studies around Beirut, Lebanon showing views of a wooden battleship firing a salute, the tops of buildings, and two studies of a man's head. At upper right, battleship, viewed obliquely, fires its cannons in salute--white, billowing smoke expands from either side of the ship. Along upper margin, two sketches of the head of a man with a long beard and a headdress, viewed frontally and from behind. At lower left, a view of the tops of buildings punctuated by tall minarets is included.
Design for a Sauce Boat
Joseph Anton Seethaler II, German, 1799–1868, 1827–35
Graphite, pen and black ink, brush and wash on paper
Drawing

Shown from side. The handle formed by a winged mermaid is at right. A grapevine rinceau grows from the fishtail leg. Oblong plinth alternatively suggested with or without leaf shapes on moldings. Supported by lion feet with shells and leaf scrolls.
Cap streamer
, 18th century
linen Technique: bobbin lace, Mechlin style

Cap streamer has a design of a leafy floral vine running down the center. Sides have alternating groups of three ovals filled with decorative stitches.
Textile
, mid-19th century
cotton Technique: printed by engraved roller on plain weave

Offset repeat of clusters of blue roses superimposed on a fine brown floral vine creating a curved diamond grid between the roses. Alternate rows of roses are counterfaced.
Altar frontal
, 18th century
silk, metallic (gilt paper-wrapped onto silk core) Technique: embroidered on satin Label: silk satin embroidered with silk and metallic yarns

Altar frontal composed of five panels of embroidered silk. The center panel shows the Madonna and Child, surrounded by stars, in an oval made from pearls and rosettes, and supported by angels on all sides. The remaining panels each feature a large bird, surrounded by flowering branches filled with smaller birds. Metallic fringe all the way around.
Band
, 16th–17th century
linen, silk Technique: embroidered

a) Dark blue embroidery on natural linen, the pattern in natural linen: band with a continuous vine made up of mirror image z-scroll, narrow border with geometric leaf or floral forms at top and bottom. 
b) Small section of A.
Pierrot
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of Pierrot's head, after A. Watteau. Pierrot looks downwards to the right, wearing a large hat and wide collar. The plate is numbered and signed. An unidentified collector's mark is stamped along the lower border.
Exterior View of the House of Hector Guimard
Hector Guimard, French, 1867–1942, ca. 1910
Photographic print on sensitized paper
Photograph

Photograph of the exterior facade of Hector Guimard's house, a four story dwelling situated at the corner of Rue Mozart in Paris. Constructed of brick with limestone trim and cast bronze balconies.
Plate Illustrating Street-Facing Facade of a Standard House (“Façade sur Rue de la Maison Type ‘Stand D’”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This plan shows the elevation of the facade facing the street.
Study of a Woman's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young woman's head and upper torso after A. Watteau. The woman looks forward with her head and eyes downcast to the left. Her hair is tied back, and her dress is only barely sketched. The plate is numbered and signed.
Design for oblong brooch with diamond
, 16th century
Pen, brush, sepia. Paper
Drawing

Horizontal rectangle. An oblong diamond is framed by an escutcheon. Above and below it is composed of a tripartite cusp, containing three round diamonds each. At the sides it is composed of a cusp, containing one round diamond. The cusps are connected by fans springing from the corners.
Portrait
Gaspard Grégoire, French, 1751–1846, late 18th century
silk Technique: warp-printed velvet

Portrait of Marie Antoinette in oval wooden frame. Gregoire velvet in shades of brown and blue.
Fragment
, 17th century
silk, linen, cotton Technique: two integrated fabric structures, plain wave and plain weave

Curving leaves and pomegranites in off set arrangement in pink, tan and white
The Virgin and Child Adored by Saints Jerome and Mary Magdalene
Agostino Carracci, Italian, 1557 – 1602, 1586
Engraving on paper
Print

The Virgin and Child, accompanied by an angel holding a book and the Child, St. John are shown in a landscape. In the foreground, St. Jerome, shown half nude, with his lion, is at the left, and Mary Magdalene, at right, holding the foot of Jesus. Four line dedicatory inscription below.
Figural group
, 19th century
ivory

Man and woman with flowers
Badge
, 17th century
silk Technique: embroidered on satin weave; edged with cording and trimmed with silk tassels

Red satin cardinal's hat with yellow satin frame for blue satin shield between tassels of hat. Shield divided by white satin Maltese cross into four parts each having a black eagle embroidered in silk. Smaller red satin shield in centre with white embroidered griffin gazing at sun. Backed with linen.
Exaltation of the Cross and Saints (Design for a Painting for the Cathedral of Pisa)
Giovanni Battista Paggi, Italian, 1554 - 1627, ca. 1606-11
Pen and brown ink, brush and gray wash on laid paper
Drawing

Vertical rectangle. St. Francis is seen seated in conversation with a kneeling soldier; other small saints, including bishops, are grouped about.
Cap crown and border
, 19th century
linen, straw Technique: satin and running stitches on net

Round cap crown and ties in black net embroidered with straw. Crown never mounted.
Three-story Town Mansion,
Giuseppe Jarmorini, Italian, ca. 1732 – 1816, 1775–1800
Pen and brown ink, gray wash, traces of graphite Support: white laid paper laid down on white laid paper
Drawing

Vertical format; one half of a bay at left; the ground floor has a colonnade in front; the doorway is at left; the sequence of the borders of the pillars in in conformity with the classical precept; the bays are framed by pillars and entablatures; the window if the cellar
Design for an Enframement
William D. Travis, American, 1839 - 1916, ca. 1910
Pen and ink on paper
Drawing

An enframement for a text. A symmetrical design composed of classical border motifs. Above: Scribner insignia flanked by swags of flowers, as a frieze, surmounted by a cornice. Below: central design of cornucopias of fruit.
Textile
, ca. 1710
silk Technique: 5-harness satin damask

Pale blue damask in a design of large, loosely drawn and elongated leaves and flowers.
Fragment
, 10th–12th century
linen, silk Technique; plain weave and slit tapestry

Interlacing bands and geometric motifs in tan and red silk.
Fragment
, 18th–19th century
linen Technique: bobbin lace (Valenciennes ground)

Loosely  woven scrolls in field of open mesh.
Panel
, late 19th century
linen Technique: needle lace

Classical subject worked out in needle lace stitches in a needle lace ground. The initials "C A B" are worked into the pattern.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut pile (velvet)

Bands in red cut and uncut velvet. green selvage on the right.
Kozuka
, 1772–80
Shibuichi

Period: Anyei. School: Somin. Surface: Migaki. Shape: Kaku-jiri. Workmanship: Omote: Iroye chu-niku-bori taka-bori zogan; Ura: Katakiri. Egashira: Migaki. Design: Tachi-ichi: Ippon geta sennin (Sennin with single-support clogs); Ura: Otafuku.
Button
, 1816
Silvered brass

Button from an officer of the Royal Guard, 1816. Imperial crown over fleur-de-lis. On reverse: "Perfectionne L.C.B." Paris".

On card H
Chintz fragment
, late 18th century
cotton Technique: mordants for red (over resist) gray, purple and black applied by pen or brush; madder dyed; blue applied by immersion over resist, (chintz) on plain weave

Design of curving vine alternate with overlapping mounds.
Textile
, 1775–95
linen warp, cotton weft Technique: block printed on plain weave foundation

Alternation of two stripes, on in straight repeat, the other in offset repeat. The straight repeat is a folded ribbon of lace, the offset repeat is a flower and a ribbon-tied branch.
COLLECTION DE DESSINS Des Poëles de formes antique et modern, de l’invention et de la Manufacture du Sieur OLLIVIER, rue de la Roquette, fauxbourg Saint-Antoine.
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Letterpress on paper
Album

Pages 1 to 4, text introducing a series of designs for different styles of stove heaters, made by a Parisian ceramic manufactory. Each plate is described and printed twice, once in black ink and once hand-colored.

Mottled leather binding with a blind tooled triple fillet border along the edges of the covers, gold tooling on the spine with lettering ‘COLL / DE/ DESS / DES / POELE'. Marbled endpapers and red textblock edges. Leon Decloux Ex Libris with the inscription in red ink: No. 233 pasted onto center of upper cover pastedown. Above, an etched binders ticket, lettered: ‘Louis Douceur/ Relieur Ordinaire / Du Roy/ Rue d'Ecose pres/ Saint Hilaire/ A Paris' in the center of an oval cartouche.
Textile
W & E Orme, English, 1851–1861
cotton Technique: roller printed on plain weave, glazed

Central scene of the Crystal Palace with people of all nationalities gathered in the foreground, surrounded by a floral pattern in blues and browns.
Design for Round Table "B"
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round table top raised on turned and molded baluster-like support sitting on cross-shaped molded base on casters.
Design for Stand of 17th Century Spanish Cabinet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular body with front panel with elaborate metalwork center: 2 hinge-plates and 2 cross-shaped handles flank keyhole escutcheon; body raised on either side by cluster of supports each consisting of twisted column flanked by pair of turned columns; cluster supports surmounted by rectangular slab resting on bracket-like platform joined by horizontal stretcher having 3 cut-outs and supported by 2 columns center surmounted by pair of bud-like finials.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular window with scalloped design in yellow and burgundy; upper section contains square, lower design contains lobed circle.
Tomb of George Washington, Mt. Vernon
Unknown, American, ca. 1820
Black, white chalk, brush and white gouache, pen and white ink on prepared paper
Drawing

View of Mount Vernon, the Potomac River, and the tomb of Washington.
Frieze
, 1810–40
Block-printed and flocked on handmade paper

Parallel double frieze running the length of the paper. Above a row of arabesques of foliage and flowers in red flock on a ground of yellow, white and blue wavy stripes is a border of stylized yellow flowers on red flock ground. Pattern ends at one end of the length.
Flask
, mid-18th century
Blown glass

Green cast to glass, and bubbles in body. Circular base, concave, brought up into straight flattened sides converging slightly toward top, which is developed into a cylindrical neck and applied lip. Applied loop handles, terminating in reversed ribbon-like ornament.
Frieze
Howell and Brothers, 1835 – 1900, 1880–1900
Machine-printed

Wide frieze, featuring wide central band of pineapple-like motif alternating with shrub-like foliate motif. Narrow band over this is small circular shapes between a band of red and yellow stripes, while at the bottom is a medium wide band of stylized floral motif within wreaths. Printed with small strokes of pigments on tan ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern with quatrefoil motif at intersections. Printed in green, metallic gold and tan on tan ground covered with weave texture.
The Children of Charles I of England
Armand Waltney, 1884
Etching on paper
Print

The three small children of Charles I are seen standing with a large pet dog on a carpet strewn with roses.
Sidewall
Jones and Erwin, Inc., 1820–30
Block-printed

Irise paper with geometric format printed in shades of red and white on off-white paper.
Jenny Lind Paper Doll Costume, Valentine from the opera "Die Hugenotten" (The Huguenots)
Jenny Lind, Swedish, 1820–1887, ca. 1850
Lithograph on white wove paper
Print

Paper doll costume for the figure of Jenny Lind representing the character Valentine from the opera Die Hugenotten (The Huguenots). Designed to be placed over the doll.
Batteur d'or, Plate II
Benoît-Louis Prévost, French, 1735–1804, 18th century
Engraving on paper
Print

Batteur d'or, Plate II.
Christopher Columbus
, patented 1892
Plated brass
Matchsafe

In the shape of Christopher Columbus' head in profile, identical on reverse. Lid, hinged on side, flips open at bottom when button on neck is depressed,  inscribed "Columbus" on one side of lid, "Pat.d. Oct.25, '92" on reverse side. Striker on bottom of lid.
Sidewall
, 1815–25
Block-printed, handmade paper, joined

On blue ground, shaded blues-to-white foliate pattern, short repeat.
Study of Bending Nude Figure Holding Cup
Louis Schaettle, American, 1867–1917, ca. 1900
Charcoal and chalk on light brown paper
Drawing

Bending female nude with head, torso and arms shown from the back. Left hand holds cup. Upper right, study of hand holding cup. Figure bends toward right.
Hanging
, 19th century
cotton Technique: plain weave foundation; mordants for black, two reds, and lavender were block printed; madder dyed; yellow and blue applied by brush Label: cotton, mordant printed and dyed, painted

Hanging with a niche arch forming the center field. A cypress tree grows from a mound in the niche, with a peacock on either side; the field is filled with flowers.  Above the niche, a face in a sunburst with an inscription in a hexagonal medallion on either side. Surrounded by deep borders on all sides with a flowering vine, narrow guard borders with mango or cypress motif. All finely drawn and all pattern areas filled with tiny flowers, vines, etc.
Cover
, ca. 1910
cotton Technique: chromolithography printed on 4&1 satin

Panel for collectors of cigarette souvenir squares which were to be stitched to the spaces indicated. Eleven flags with a large United States flag in the center and a gold frame around the edge. "No. 1." All edges cut.
Bourdalou
Sèvres Porcelain Manufactory, French, established 1756, late 18th–early 19th century
porcelain (probably hard paste), vitreous enamel, gold
bourdalou

Boat-shaped vessel, one end higher than the other; vertical handle at high end. White ground with gilt rim, below which is gilt diaper patterns on blue. Beneath this area are rose and mulberry-colored swags with centered shell and rosette motifs, all with gilded outlines and details. Floral festoons hang from swags. Gilding on handle and around base.
3/4 Fraction, Educational Game
The Cincinnati Game Company, Cincinnati, Ohio, USA, 1902–05
Lithograph on paper
Playing card

Rectangular format playing card with rounded edges, for use in an educational game on fractions. A symmetrical design, the fraction 3/4 in a pale pink circle at upper center surrounded by decorative motifs at top, bottom, left, and right; the number 3/4 printed in black at upper left. The lower portion of the card is a translated repeat of the design.
Old Squaws
Frank Weston Benson, American, 1862–1951, 1915
Etching in black ink on shogum paper
Print

Three ducks flying, facing left, over a choppy sea, in a shower of rain. A cloudy sky.
A View of the Three Fountains in the Gardens at Versailles
S. Rigaud, 1818
Engraving, brush and watercolor on paper
Print

The three fountains, center. High shrubbery walls and trees around. Many men and women in teh foreground. Title, artists', and publisher's names below.
Sidewall
, 1875–99
Machine-printed on machine-made paper

Tile pattern, with large stylized floral ornaments alternating with small floral arrangements, printed in tan on gray ground, on embossed paper simulating textile weave.
Feeding the Squirrels in Union Square
H. Claudius, 1882
Wood engraving on paper
Print

A group of people watch a kneeling boy coax two squirrels with some food. Title below and artist's name. Illulstration from Harper's Weekly.
Textile
, 15th–18th century
cotton Technique: resist-printed on plain weave

Simple floral motif within a grid of S-shapes and rosettes. White design on blue ground.
Waistcoat pocket
, 18th century
silk Technique: cut supplementary warp pile (velvet) in a satin foundation

Pocket flap with a black brocaded design of a floral garland on an off-white ground. Shape of pocket flap is outlined with a wavy line of cut black pile.
Knife from Folding Cultery Set
, 1680–1720
steel, silver, bone
knife

Folding knife. Blade with straight lower edge, upper edge tapering towards the point, partly sloping. Pistol-shaped bone handle with engraved silver mounts, five silver studs on front and back. Edge steel carved with decorative pattern with bird in profile and stylized calligraphic inscription, possibly the date "1717". Blade folds into handle.
Border
, 1835–60
Block-printed and flocked on machine made paper

The flat, two-dimensional design of this border consists of stylized motifs: rounded mustace-shaped garlands connected by oval ornaments; printed in black, gray and white with blue flocking.

H# 38
Knife
, late17th century
ivory, steel, silver

Blade sabre-shaped with rounded point; silver ferrule. Ivory handle carved in deep relief. Three putti, one of them kneeling, the other two climbing on top of his shoulders.
Sidewall
Robert Graves Co., New York, New York, ca. 1900
Machine-printed paper

On beige ground, printed to simulate ebossed linen pattern, stems with roses and purple and blue flowers, bluish leaves with yellow accents. Drop repeat, straight match.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

Garland of roses suspended from blue knotted ribbon. Swagged band of rope twist or cable molding below swag. Printed in red, green, blue and gold on white ground.
The Annunciation
, 1750–80
Pen and brown ink, brush and brown wash, traces of red chalk on cream paper
Drawing

The Virgin is seen kneeling at a prayer desk, right, with her left hand extended towards an angel on top of a cloud above her and to her left. God the Father, a dove symbolizing the Holy Spirit, and cherubin can be seen above.
Studies of Architectural Details
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on beige paper
Drawing

Two studies of architectural details. Above, a capital from Château de Gaillon. Below, a stylized leaf on a vertical rectangle, with, Antonio Villa, written below.