biglam/cooper-hewitt-alt-text huggingface dataset:
Jaques' Extracts showing Bridal Veil Falls, Yosemite Valley, California
Jaques Atwood & Co., Chicago, Illinois, ca. 1880
Lithograph on heavy white wove paper
Trade card

Card with sepia toned lithographic image of Bridal Veil Falls, Yosemite, viewed from below, printed on the recto. Across the lower right corner in an elaborate font are the words "Jaques' Extracts".
The verso provides text relating to the purveyor of groceries, provisions and general baking goods.
Border
, 1800–1820
Block-printed on handmade paper

This piece is most likely one band of a border design probably originally printed in five repeat bands for the width of the wallcovering. Each band consists of three strips of varied patterns: a continuous chevron band above the wider center band containing stylized palmettes, triangles, and narrow vertical stripes, edged at the bottom by a wave-and-dart pattern; printed in yellow, orange and white on black.

H# 610
Textile
, late 18th–early 19th century
cotton Technique: printed by engraved copper plate on tabby weave

Shaped valence of white cotton, plate printed in red, now faded. Lined with plain white cotton, bound with red cotton.
Rocher St. Michel, Le Puy
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

High rock with abbey on top. Houses and vegetation below.
Bird Among the Peonies
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

This vertical stencil consists of branches of blossoming peonies and a single bird perched in the middle. The overall composition suggests that it was made as a wall hanging rather than a stencil used for textile designing. Silk threads are added to support the stencil structure.
Architectural Details at Nevers
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Staircase, moulding and capitals.
Ceiling paper
, 1905–1915
Machine-printed paper

Quatrefoil or cross-shape composed of acanthus foliage and red bellflowers enclosed within foliate wreath. At the intersection of four circles is a foliate and floral rosette. Printed in red and green on tan ground.
Woman smoking
, ca. 1900
Cast and chased silver
Matchsafe

Rectangular with rounded corners, featuring relief ornament of woman's head in profile holding a cigarette to her lips, smoke swirling around her face, her hair pulled up loosely with flower, long tendrils fall around her shoulders, all framed by elastic, ribbon-like decoration with whiplash curves. Reverse undecorated except for monogram (H?). Lid hinged on side. Striker in recessed groove on bottom.
Spring in the City
Winslow Homer, American, 1836–1910, April 17, 1858
Wood engraving in black ink on paper
Print

Ladies and gentlemen on a sidewalk with a Lace and Fancy Goods store visible in the background.
Fork
, ca. 1720-1750
steel, glass beads, thread

Two-tined fork, baluster stem. Tubular-tapered handle, beaded with multi-color floral bands in spirals, ground of white beads, blue, yellow and green beaded bands.
Plave LVI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machien for lifting a ship out of the water, right, over a wall. A frame, crane and pipe; grapples on the ship's mast, one man, left controlling it. Castles, beyond, also a town. Description in Latin on verso of 1949-152-253.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Alternating large and small acanthus medallions, enframed and/or separated by acanthus scrolls. Printed in green and white mica on light green ground.
Cover
, 1875–1900
wood

lute shaped box
Lattice Motif
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

This lattice motif is done by using a variety of thin strips. Some areas of the stencil appear to be damaged but are overall in decent condition.
Portrait of Frau Wetterstein
F.A. Meyer, German, active 19th century, 1817
Black and white crayon, and brush and wash on paper
Drawing

Within black framing lines is a bust portrait of an elderly woman, her gaze directed to the right, wearing a pleated blouse-cap and heavy white scarf about her neck.
City Skyline
Arnold William Brunner, American, 1857–1925, 1878
Graphite and white heightening on light brown paper
Drawing

In foreground, a train yard and a stream. Various buildings and towers in the background. Train moves from right to left in center foreground.
Sampler
, 18th century
Medium silk on linen Technique: embroidered on plain weave

Sample with a blank central square; border with many geometric bands of multicolored silk on linen.
Embroidered picture
Mary B. Tyrrell, 1817
silk, plain weave Technique: stem, satin, knot stitching; long floating stitching for foliage; faces, hands and background painted

Embroidered picture showing a man and woman weeping over a tomb under the shade of a willow tree.  The tomb's inscription reads, "In memory of Mrs. Susannah Chandler.  Died August 28th, 1811.  Aged 56 years."  There are plants in foreground, and a church in background.  The name of the maker - "Mary B. Tyrrell, 1817" - is painted along the bottom.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a tortoise and a crane with a pine tree (matsu) in weft ikat alternating with square form in warp and weft ikat.
Tiraz tapestry fragment
, 1000–1200
linen, silk Technique: tapestry weave

Tiraz tapestry fragment showing a dark roundel with a hare in undyed linen. On either side, is a pair of birds within a red cartouche. At top and bottom, bands of scrolls and serpentine lines in yellow and undyed linen.
Sidewall - fragment
, 1875–1900
Machine-printed paper

a) On off-white patterned ground, alternating fleur-de-lis-like motif highlighted and shadowed to appear embossed; b,c) both contain the same design. Diaper pattern with acanthus medallions containing foliate motif. Printed in yellow-green and metallic silver on off-white moire background.
b. On gold metallic ground, alternating medallions of metallic silver and gold framed by plumes of gold with grey-blue dots.
c. same as "b" above
Waistcoat
, ca. 1790
silk embroidery on silk foundation, linen back Technique: embroidered using satin and stem stitch in twelve colors of silk, two colors of couched silk chenille, appliqué of black silk plain weave on 7&1 satin foundation.

Gentleman's waistcoat with double-breasted closing. Decoration of black silk medallions embroidered in flower sprays at the center front.
Ceiling medallion
, 1875–1906
Block-printed

Set within a square framework, central stylized floral motif, surrounded by pink roses, small blue flowers and fern fronds. Three smaller square frameworks are directly opposite. The frame on either end containing a large pink rose, while the middle square contains a diagonal band.
Fashion Plate from Le Moniteur de la Mode
E. Gailland, French, active 19th c., 1883
Engraving, brush and watercolor on paper
Print

Six children playing with a puppet theater "Opera Comique" before a curtain. Artists' and publisher's names and date below. Description on verso.
Temple hanging
, 13th century (bodhisattva), 18th–19th century (hanging)
silk, metal threads, paper Technique: the bodhisattva is needle looping technique; the hanging is made from various woven fabrics sewn together

The central figure is a Bodhisattva made by needle looping in the 13th century. The figure was later sewn to a ground of Chinese light blue silk satin with a gold pattern of chrysanthemums on a curving vine. The standard is made from various woven silk and metallic brocades, sewn in tab-like forms to surround the Bodhisattva. A silk tassel finishes the bottom.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Printed two borders across the width. Alternating taller and shorter foliate motifs, each element outlined in metallic gold. Background shades from yellow-green at top to tan at bottom
Arabesque Design
François Voisin, French, active 18th century, 1788
Etching and aquatint on laid paper
Print

Arabesque ornament design with neoclassical motifs. A central winged female figure draped in fabric standing on a platform with draped textiles, vases, a festoon of flowers and an incense burner on either side and above. Below a frieze with a spider's web motif, beading, rosettes, with more scrolling acanthus leaves, fleurons, rosettes, terminal figures, ribbons, birds, and draped textiles. The plate is signed and numbered.
Design for an Embroidered Woven Fabric
, 1825–1840
Brush and gouache on oily tracing paper
Drawing

Rising rinceau with lave leaves and lace blossoms on top of the spirals alternating in vertical rows. They are of different designs and in opposite order in alternating rows.
Study of a Turban
, late 18th century
Red crayon on paper
Drawing

Vertical rectangle with detailed study of a turban with the outline of a woman's head.
Decorative Monogram Design
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letters A and L, featuring flowers, and foliate branches. The letters are topped with a crown of flowers. The plate is numbered, signed and hand colored.
Mountain of the Holy Cross, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

View of mountainous landscape, central mountain with delineated cross shape; trees in the middle ground and river running through to the foreground where there is a male figure with walking stick and satchel on rock formation.
Design for a Brooch
, ca. 1750
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Jewelry design for a brooch. Two branches, turned to the right, with a knot below, blossoms, and leaves. Two hanging teardrop diamonds.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton printed in blue and red on white ground showing a pattern of poodles in a variety of playful poses.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white, blue gouache on glazed tracing paper pasted on paper
Drawing

Flower boughs rise from a waved white and blue rubbon. An oak leaf, the top of which hangs downwards, is a part of a garland, on top. Somewhat less t han three repeats are shown.
Three Figural Studies
, 1725–1735
Black crayon on paper
Drawing

At left, a man and woman seen from the back, leaning on a sack. At right, a kneeling figure at work.
Design for a Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white gouache on glazed tracing paper
Drawing

Nosegays, of which one is nearly entirely shown and another partially, form a vertical row connected by festoons. They are compsoed of two kinds of feathery leaves and are fastened to a bowknot with tassels and partially formed by beads. The festoons consist of a flower stem, two entwined ribbons with tassels, a chain of beads. A row of beads is at the bottom.
Rampe de l’Escalier du Chateau Royal de Champdebeu
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Three sections of the decorative wrought-iron banister from a staircase in the Royal Castle of Champdebeu with three outlines of the shape of the banisters and base of the staircase, and a scale. The banisters are ornamented with rococo motifs, acanthus leaves, palmettes, fleurons, scrolls, flowers, and floral fretwork. The plate is signed and titled.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architectural fragments, including a niche, cornices, a term, and mascarons. The plate in the upper left is the title page, printed in the center of a cartouche. The plates are numbered but not signed.
Design for a Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The bowl is supported at the ends by four revered consoles upon two octangonal plinths. The lower part of the bowl is fluted, the upper one has a frieze with festoons, hanging from the upper spirals of the consoles. Below, the lif in plain. Upon an octagonal base with cherubim at the oblique sides, raises a pedestal supporting a socket from which a cross springs. Only part of it is visible. Usual background.
Sidewall
, ca. 1800
Block-printed, handmade paper

Horizontal rectangle composed of two pieces of paper. Alternating stripes of coral with overprinted black design, and gray, with overprinted green design imitating the effect of a moire silk. Printed in gray, coral, black and green.
In the Woods
Frederic Edwin Church, American, 1826–1900, possibly October 1865
Oil and graphite on white paperboard
Drawing

Landscape sketch showing a view of the base of a large tree within a dense forest, possibly in Vermont. Rising through the central vertical axis, a broad tree trunk, rendered in great detail, is partly wreathed in moss around its roots. Before it, in the immediate foreground, debris, soil, and undergrowth is visible. In the background, numerous thinner trees populate the woods among a mass of yellow-green vegetation.
Title Page
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for an iron gate with a monogram rondel at top surrounded by sprays of leaves and floral cornucopia. The plate is signed and numbered.
Sketches of Flowering Plants
Frederic Edwin Church, American, 1826–1900, 1856–73
Graphite, brush and white gouache on gray-green wove paper
Drawing

Botanical sketches showing views of four different plants. The upper parts of three thistle plants are visible at center and that of a goldenrod plant is shown at right. At upper and lower left, the tops of two flowering plants are loosely sketched.

Verso: Landscape sketch showing, at upper right, a faint and loose rendering of a rugged mountain range viewed obliquely. It has one prominent, sharp summit at its center.
Moose Hillock from Oak Hill House, Littleton, New Hampshire
Daniel Huntington, American, 1816–1906, September 15, 1879
Graphite on paper
Drawing

The mountain, center, with ridges left and right. Below, the road to Franconia, labelled. Below, at right, the railroad station and a steeple. Place and date noted at lower left. Verso: Ridges to left of Moose Hillock outlined.
Sepulchral Monument
Mauro Antonio Tesi, Italian, 1730 - 1766, ca. 1760
Pen and brown ink, brush and gray wash on paper
Drawing

Design for a sepulchral monument.  Elevation view.  Staircases lead up to a platform in the center of which stands a sarcophagus upon a pedestal supported by winged skulls.  A reclining female statue lies upon the sarcophagus.  She holds a stick surrounded by a snake.  At the base of the monument, at the corners, stand two female statues.  In their gesture, they point toward the sarcophagus. Double columns support an arch and a square dome decorated, at the center, with a medallion supported by two cupids.  The sarcophagus is positioned directly below the dome.  On top of the dome stand two female statues beside a pedestal with a vase.  Next to the columns, on the exterior, are two burning candelabra.
King David
Bicchierari, Antonio, Italian, 1706 - 1751, 1750–66
Brush and blue wash, pen and brown ink on off-white laid paper
Drawing

The youthful king is standing upon clouds and gazing upward in ecstasy. A seated putto holds the harp, at left.
Sketch of Soldiers Eating
Winslow Homer, American, 1836–1910, 1862
Graphite on cream wove paper, laid down
Drawing

Horizontal sketch of showing soldiers eating near a field kitchen.
Popocatépetl, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the volcano Popocatépetl from a town in the valley west of the mountain, possibly near Tepetlixpa. In the foreground at lower right, a figure carrying a bundle on their back walks towards a barren, leafless tree. Rolling terrain extends through the middle distance, with a noticeable prominence at left. In the background at center, the lofty, conical peak of Popocatépetl looms over the landscape. A rocky crag or notch on the peak's left side is visible. 

Verso: Architecture and botanical sketch showing views, at left, of two Spanish bayonet or yucca plants, loosely rendered, and, at right, a view of the yellow tiled dome of the Church of Nuestra Señora del Carmen in Celaya, Mexico. From the dome, the church's nave extends to the left until it encounters an incomplete sketch of the church's belltower.
Wood block
, 1840s
Wood

Drop-repeating, close set design of conventional, symmetrical foliate motifs. Very probably for a one-color paper.
Galerie métallique des grands hommes français (Great Men of France)
, 1821
Cast bronze
Medal

Bust of Charles Pinot Duclos (1704 -1772).
Textile
, ca. 1825
cotton Technique: block printed on plain weave

Fragment showing a pattern of a hunter with two dogs in a field of flowers with sheaves of wheat under a flowering tree. Colors are red, blue, yellow and dark brown on a light brown ground.
Desk
, 19th century
Mahogany, burl walnut, burl elm, rosewood veneers, maple, pine, ash, gilt metal

With slant front upper desk portion, with flame-grained matched mahogany veneers below a raised gilt-metal gallery with brass knop finials that elevates on racheted supports; the interior with contrasting maple writing surface and burl veneers and drawer fronts, with ormolu borders and document drawer fronts, the sides of the top with eagle and lyre mounts, resting on a cabinet base with matched flame-grained veneered doors with lyre form mounts at the centers of the front and sunburst on centers of the sides, trophy mounts on upper and  acorn mounts on lower corners, the interior with shelves, on square bracket feet below a band of branded leaf-tip decoration.
Design for the Decoration of Barrel Vaulted Ceiling
Giuseppe Barberi, Italian, 1746–1809, 1790-1800
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A spandrel with women between two ovoids and under an entablature. Bottom row: three-quarters of the plan of a ceiling. More detailed left half of the design top left. Colored ground.
Frame or Cartouche Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a frame or cartouche featuring an egg and dart pattern molding, festoon of flowers, foliate branches, ribbons, scrolling acanthus leaves (rinceaux), acanthus leaf clasp, c-scrolls, diaper pattern, shells, coral, a trident, and a compass. The plate is numbered and signed.
Project for a painted ceiling with an antique bust in an archway
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1807
Brush and gray and brown wash, pen and ink, on paper.
Drawing

One quarter is shown.  An entablature is shown from below.  Above its front rise the balustrades of upper galleries.  Their back walls are decorated with a battle scene at the short side, with an ornamental candelabrum, and a statue in a niche, at the long side
.  An arch opens in the center of the latter another one stands across the corner.  Below it is the figure of a Roman emperor, seen from the back, upon a pedestal, with two female allegories, supporting a festoon, beside it.  An upper entablature is supported by columns and pilasters.  Above it rise arches, supporting an entablature as the frame of the central representation in the sky.  On top of the upper entablature, at the short side, is a trophy of arms, and the figures of two women in a partly erased fantastic architecture.  Signature below at left: "Flaminio Minozzi 1807" In the center below: Scala di Piedi no.13 di Bologna.
Ornamental Vase Design
Georges Charmeton, French, 1623–1674, 1677-1703
Engraving on laid paper
Print

Vase with monstrous dolphin handles. The lip of the vase is adorned with acanthus leaves. The neck of the vase has architectural ribbing. At the shoulder of the vase are oval rondels with women in antique dress carved on them. The vase has a tiered foot. The high relief of the carving is indicated by strong shadows caused by a bright light source directed from the upper right of the plate. The plate is lettered and numbered.
Niagara Falls, from the American Side
Frederic Edwin Church, American, 1826–1900, October 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of Niagara Falls from the American side, just below Prospect Point. In the foreground, treetops, shoreline grass, and piled boulders are shown at the base of the American Falls, which curve into the middle distance at left as immense quantities of water cascade over its undulating edge. Terrapin Tower is visible just beyond the heavily wooded Goat Island, visible in the middle distance at left. In the background, Horseshoe Falls curves across the composition to encounter the Canadian bank at right. Several buildings and dense woods are visible along the Canadian bank at upper center and upper right.
Saint Jadwiga kneeling before the Crucified Christ; preparatory drawing for an altarpiece at the church of San Stanislao dei Polacchi, Rome
Szymon Czechowicz, Polish, 1689 - 1775, 1724–1725
Brush and gray wash, heightened with white, over black chalk, on beige laid paper; squared for transfer in black chalk
Drawing

Figure of Saint Jadwiga adoring Jesus on the Crucifix. Angels and other figures at the base of the Crucifix, drapery and column at upper left, a crown at lower center. Paper arched at the top, lined, with elaborate mount.
Fountains
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Top left: view of a fountain with crouching lions, tapped by a female figure. Left center: plan of an oblong fountain. Center: unfinished plan of an octagonal fountain. Bottom left: unfinished plan of an oblong fountain. Rough sketch of steps. Bottom right: a variation of the design top left; surrounded by posts. Accounts top right.
Design for a Woven Fabric
, 1805–1840
Brush and gouche on oily tracing paper
Drawing

Boughs of flowers are connected by undulated ribbons with flower boughs hanging at right beneath their bottoms. The flower bunches are of different designs in each alternate row. White stripes at left.
Bridge in the Mountains of Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of a bridge in the mountainous landscape of Mexico. In the foreground at left, a stone bridge arches over a largely unrendered stream, leading to a large, dark group of horses and mules at right. A lightly wooded hillside gently descends across the composition in the middle distance, from left to right. In the background at upper center left, a conical mountain with two sharp peaks looms over the scene.

Verso: Landscape and figures sketch from Mexico showing, at lower right, a nearby figure walking towards us, wearing draped robes like a monk, and at center, the dark, craggy summit of an extremely rugged and barren mountain.
Sidewall
, 1785
Block-printed on joined sheets

Vertical rectangle. Drop-repeat of tulips and roses, tied with ribbon, alternating with horizontally-placed spray of apple blossoms. Field stippled with diagonal rows of white dots.
Boy and Girl on a Plow
Winslow Homer, American, 1836–1910, 1879
Graphite on paper
Drawing

Horizontal view of a boy and girl seated on a plough.
Project for an altar in a side chapel
, 1725–1750
Pencil, pen, ink, brush, and grey watercolor on paper
Drawing

Vertical composition of an altar. The back wall of the chapel has the outlines of the entrance of a church. The mensa has the shape of a sarcophagus, flanked by pilasters and embedded columns. In the center there are clouds with three cherubim and an angel supporting a cross.