biglam/cooper-hewitt-alt-text huggingface dataset:
Cap crown
, late 17th–early 18th century
linen Technique: bobbin lace, Brussels style

Cap crown with a central cartouche surrounded by floral elements that are joined by connections.
Dado
, 1800–1840
Block-printed on handmade paper

Alternating panels of gryphons and urns, printed in browns and whites on deep rust.
Watch House, St. Mary le Bone, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Bare room with lanterns on shelves above the doors. A few tables and benches, and many men in heavy brown coats. Title, artists', and publisher's names below.
Box
, ca. 1900
Opal matrix, diamonds, emeralds, gold, gilding, silver

Box, oblong with rounded ends; cut from opal matrix with applied gold serpent set with emeralds and diamonds.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1880–90
embossed

An embossed paper simulating leather work of the 17th century. An overall design of olive-green diagonals enclosing gilded pomegranates, all on a field of pale blue green. A gilt daisy appears at the juncture of each diagonal, and also from this point feather-like foliage motifs curve upward. Embossed in gold and dark green on light green ground to simulate leather.
The Army of the Potomac – A Sharp-Shooter on Picket Duty
Winslow Homer, American, 1836–1910, November 15, 1862
Wood engraving in black ink on paper
Print

A soldier is seated on the limb of a tree, his rifle raised, ready to fire.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating geometric deisgn based on a three-flower inter-connected group joined to a similar smaller group by a curved stem on a striated and hatched ground interspersed by a regular pattern of dots varying tones within complementary borders.
Frieze
Kayser & Allman, 1905–1915
Machine-printed paper, embossed

Printed two across. Two bands of repeating design which proceed in opposite directions and which are reversed, composed of a vine spiral which is reversed in the direction followed by a similar spiral which is also reversed in direction on a ground of different tones bordered on the bottom by a continuous design and on the top by continuous vine swag and horizontal stripes. Printed in copper, gold, aqua, beige, brown and cream.
Seashore, Newport, RI
William Trost Richards, American, 1833–1905, October 18, 1877
Graphite on paper
Drawing

Sketch of the seashore with rocks in the foreground and sailboats on the horizon.
Jersey Street, New York
J. S. Hodgson, ca. 1870
Pencil on white paper
Drawing

Horizontal rectangle. View of a street, with tenement houses. Sketches below, and to right, of figures. At lower left, in pencil: "J. S. Hodgson Hersey St. N.Y. Rear of Niblo's Garden."
Handkerchief
, late 19th century
cotton Technique: printed on plain weave

Border: pictures of different parts of Venice
Field: map of Venice
Colors: black
Textile
, 19th century
cotton Technique: roller printed

Large oval medallions framing a domed portico with twisted columns and a clock face, in an arabesque framework with stylized floral decoration. In very brilliant red, pink, blue, yellow and black on a white ground.
Ceiling paper
, 1905–1915
Machine-printed paper, ribbed, liquid mica

Trellis or grid pattern composed of linked quatrefoil motifs. Floral medallion in center of each grid, and a acanthus boss in center of each quatrefoil. Printed in brown, green, light yellow, metallic gold on light tan ground.
Designs for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on beige paper
Drawing

Ten pink flowers and buds with the flowers equal in size to their stems, some with foliage and some with two flowers. The ten flowers are spread across page. In background two light gray and beige sections of grasses with their tops facing outward to the left and right.
Bread Tray
, 1790–1800
copper, silver
bread tray

Oblong tray with high flared sides; reeded band covers narrow base; silver die-stamped edge with egg and dart motif applied to rim.
Flask
, 1st–4th century
glass
flask

Pyriform body with tall neck slightly pinched at base; circular mouth with lip; yellow-green with iridescent surface.
Sidewall
, 1880–1900
Machine-printed

Gray and gold floral pattern on peach background
Comb
, 19th century
tortoiseshell
comb

Triangular form of mottled, translucent brown, the edges of intricate pierced scrollwork surrounding a section of solid tortoseshell with a V-shape cut in the center, above five long teeth to fix the comb in the wearer's hair.
Sidewall
, 1880–1900
Machine printed on paper

Close and colorful design of children's toys and games. Included are horns, doll, jack-in-the-box, shuttle-cock, woolly animals, Drop match. The seeming ground is dark brown but the actual paper ground is used in the design.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Foreground contains a larger foliated bush or plant alternating with a smaller plant. The background contains a landscape scene with trees and clouds printed in grisaille or shadow format.
Design for a Pitcher
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold, white gouache, pen and ink on cream paper
Drawing

Design of a pitcher decorated with light blue flowers on green and gray leaves; one branch reaches the lower part of the body.
Sketchbook Page: Standing Figure and Bust
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

At left, standing female figure, seen frontally, with a draped garment over one shoulder.  Her left arm is across her abdomen; her right hand is over her eyes, as if searching. At right, sketch of the head and shoulders of a woman, looking towards the right.
Sampler
, late 18th century
linen embroidery on linen foundation Technique: embroidered in cut, withdrawn, and deflected element work with pattern darning and needle-made fillings on plain weave foundation

Whitework sampler.  Sixty-four squares of pattern darning, cutwork with needle-made fillings.  Withdrawn element work and deflected element work.
Sidewall
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Bold multi-color stripe, alternating with foliate medallions. Printed in blue, red and green on blue ground.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-2: Part of a set of Italian Minchiate playing cards.50
Two Putti
François Boucher, French, 1703–1770, 1775–84
Etching on laid paper
Print

Two winged putti flying in the clouds. The one to the right is upside down and holds a garland of flowers, the other leans over him with his arm stretched towards the flowers. The plate is signed.
Textile
, 1870–80
cotton Technique: printed on plain weave

Single flower and leaf pattern in red and black on a dark brown ground. Light brown outlines of the flower motif radiate out and fill the ground.
Wildflowers
Frederic Edwin Church, American, 1826–1900, 1865
Oil on tan paperboard
Drawing

Botanical sketch showing a group of wildflowers, likely in Jamaica or Vermont. Dominating the composition, the group includes red, purple, orange, yellow, and white flowers mixed among other leaves and blades of grass. Background made up of loose brushstrokes of brown.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Diapered field of silver stipples with varnish; foliage in green, red and white, white rose.
Plan et Elévation d’un Pont construit sur la Rivière du Parc de Cassan appartenant à Mr. Hypolitte par Mr. Alavoine Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a plan, elevation and details for a bridge built over a river in a parkland. The plate is titled, numbered, and signed.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, baskets, jugs, grapes, lyre, quiver of arrows, torch, agricultural tools, broom, drum, horn, and a bagpipe or musette. The plate is numbered.
Study of a Lioness
, 19th century
Black crayon, white heightening on blue paper
Drawing

Lioness facing forward. Wight heightening around the details of her face.
Band fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool. Technique: Slit tapestry woven with supplementary weft wrapping.

Fragment of narrow decorative band mounted on modern plain weave linen. Pattern in purple on white ground. Lizard (?) head.
Bank of a Stream
Frederic Edwin Church, American, 1826–1900, 1860–70
Brush and oil paint, graphite on off-white paperboard
Drawing

Landscape sketch showing the rocky bank of a stream. A band of light brown rocks extends diagonally from lower left to center right, with the steam's blue, reflective water at lower right. A green bush with white flowers grows beside a large rock at center, and at the base of a rugged, brown slope. A shallow pool in front of the bush reflects the rock at center right. Sporadic plants grow on this slope at upper center and center right.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of alternating ornaments comprised of leaves, scrolls and dots in white and yellow on a blue ground.
Lampe
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a pendant lantern decorated with ornament motifs including gadrooning, fluting, bound leaf, and grapes. The plate is signed and numbered.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Street scene from campiello priuli in Venice.
Shawl
, ca. 1870
wool Technique: printed on plain weave Label: printed on wool plain weave

A square shawl with a border of cone motifs enclosing flowers and geometrical forms. Yellow outlined in dark red and blue. In each corner of the center square is a cone motif with sprays of flowers. Background is tan. Long fringe all around.
Design for Doors for a Porte Cochère
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching and engraving on laid paper
Print

Elevation of a set of double doors for a porte-cochère carved with ornament motifs including rinceaux and scrolls.
Pleated fan
, 19th century
Lace leaf with silk satin backing; mother-of-pearl sticks

Pleated fan with black lace leaf showing cupids, flowers and Rococo Revival scrolls on white silk satin. Plain mother-of-pearl sticks
Ponte Romano and Alpine View near Ceppo Morelli, Italy
Frederic Edwin Church, American, 1826–1900, September 11, 1868
Graphite on gray laid paper; verso: graphite and white gouache
Drawing

Landscape and architecture sketches showing views of the Ponte Romano bridge and a view of a glacier and valley near Monte Rosa, Italy. At left and oriented to the left, the single arch of the stone Ponte Romano near Ceppo Morelli spans the Anza River and features a cross at its apex. A small wayside structure is visible beside it at left. At right, a view overlooking a mountain valley with a glacier in the Pennine Alps near Monte Rosa is shown. Slopes at left and right frame a view of the glacier, at left, a snowy mountain at center, and a narrow valley at right.

Landscape sketch showing a view of a narrow, wooded mountain valley near the village of Macugnaga, Italy, in the Pennine Alps. In foreground at right, a cluster of small buildings is visible. Behind them, the valley floor rises to meet another structure, in the middle distance at center. At right, a mountain range extends obliquely from the middle distance into the background.
Textile
, 16th century
silk and metallic thread Technique: woven

Floral motifs within circles. Parts of left and right selvage present.
Doorplate fastener knobbed post
, ca. 1550–1700
Steel-plated wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Square, pyramid-shaped nail head on a square shank.
Portail de la Sorbonne du costé de la cour
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the façade to the chapel of the Sorbonne in Paris, view from the courtyard. The church is domed with a cupola. The façade is decorated with statues, vases, balustrades, windows, a portico with a pediment, supported by columns, stairs leading up to the doors with two figures standing in front of the door. The plate is titled.
Panneau avec Porte
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for wall panels with a door at center. The panels are decorated with ornament motifs including bound leaf, a relief of an urn with flowers, garland, and crossed branches. The plate is signed.
Pichincha from Hacienda Chillo, Ecuador
Frederic Edwin Church, American, 1826–1900, June 26, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch showing view of the volcano Pichincha from Hacienda Chillo, near Quito, Ecuador. Sharp forms of the mountain and range stretch horizontally across the composition, with forward slopes rendered in some detail.
Handscreen
, 18th century
Painted paper leaf with applied silk, carved wood handle

Handscreen with round leaf and carved wood handle. Elaborate painted scene of figures in an architectural setting, clothing is applied bits of silk.
Temple of the Sun
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, garden house composed of piers and lintels, with half-dome over arched central portion. At top center, a disk with rays of varying length; below, a whorl, an eight-pointed star, and two interlaced triangles forming a six-pointed star suspended above a flower pot. Two medallions suspended from lintel of summer house at either side with text: VIVA / CHI / VEDE; pink, green, and white transparencies.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Designs for ornament including scrolls, garlands, and rinceaux composed as cartouches, candelabra, frames, and free motifs. The plate is signed and numbered.
Cooling pail
, ca. 1740
Enameled and lead-glazed molded earthenware

Cylindrical with slight flare at base and slight thickening at top. Ribbed sides and horizontal twisted handles. Decorated with lambrequin-like clusters of flowers and leaves at top and bottom, and square foliate medallions about center. Surface somewhat pitted.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

A large two-storey Palladian building with dome; tower on right side; statues along upper storey.
Juno, from the series Grotesques à fond noir, Divinités et Allégories (Grotesques on Black Ground, Divinities and Allegories)
Etienne Delaune, French, 1519 - 1583, ca. 1575
Engraving on off-white laid paper
Print

Vertical oval in rectangle showing a grotesque designs on a black ground. At center, under a baldacchino, Juno stands surrounded by scrolls, fantastic creatures, vases, and fruits.
Sidewall
, ca. 1750
leather, stamped, silvered

Vining floral pattern. Red and blue flowers on intertwined vine. Painted in colors on embossed ground.
Design for the Letters D and E
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

In a central oval, within a rectangular frame, the interlaced designs for the letters D and E. The D is made up of flowers and leaves and the E of thin parallel lines. The plate is signed and numbered.
View of a villa
Giuseppe Barberi, Italian, 1746–1809, 1792–1794
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Obliquely and incompletely shown. A two-story building is flanked by colonnades of three arches and with statues. Flights of stairs lead to the portico of four Doric columns with triangular pediment. Seven windows in the top floor. A woman and two men in the right foreground. Trees in the left rear. Right top corner: "13", vertically. Possibly for the Villa Poniatowsky.
Elevation of a Lateral Wing of a Palace
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

The doorway is flanked by four bays at left, five at right, where the beginning of a colonnade is shown. Basement, first story, mansard, main floor. A balustrade is on top. Statues stand on it and a princely coat of arms is in the axis of the doorway.
Mexican Landscape
Frederic Edwin Church, American, 1826–1900, 1884–1885
Graphite on off-white laid paper
Drawing

Landscape sketch showing a likely composed view derived from scenes in Mexico. In the foreground at right, a large, partly ruinous structure is shown with a dark doorway and front steps as it frames the view. At lower left, a seated figure is shown from behind as they gaze towards the view. In the middle distance at center, seen beyond a short, interceding hill, another large structure--perhaps a church or a castle--is perched prominently on a gently sloping hill. Loosely rendered clouds stretch across the sky, above.
REPRESENTATION DES PRINCIPALES, FAÇADE, ENTRÉE, COUR, ET DE TOUT L’EDIFICE DU PALAIS EPISCOPAL, EN LE VILLE DE STRASBOURG
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

An evening view of the illuminated exterior of the Episcopal Palace of Strasbourg, with crowds of people and carriages in the streets and courtyard. The plate is titled, signed, numbered, and features the Strasbourg coat of arms
View of a Memorial Hall and a Palace
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The hall is at right. It has a circular plan. Steps lead up to it, bordered at left by a parapet, with a trophy upon a pedestal at its lower end. Angle view upon the palace. It has two floors and at the corner a tower, one story high.
Motif for Decorative Design
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black crayon, ink, watercolor on paper
Drawing

Shown is an oblong frame for an ovoidal representation. Alternative suggestions are shown for the decoration of the edges. Represented are two dancing figures and a seated girl in clouds.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The flames burn in candelabra in the shape of vases, for which alternative suggestions are made. They stand upon the base at the ends of the steps. The panels and piers beside the door are decorated with a festoon. Above the entablature is above the door a triangular pediment with a head inside. The attic is only a little higher than the pediment. Above it stands a roudn pediment with a base. The upper part of the pedestal is decorated with two festoons supported by a bowknot. On top is a variation of the figure in 1938-88-1294, with an angel kneeling beow the raised arm. Below, inside the monument lies the crowning motif of 1938-88-1308.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray, red watercolor on light green paper
Drawing

Jewelry design for an earring. The central diamonds of the disk and the drop are red, as is the diamond upon the knotted ribbon, which is similar to 1938-88-853. Bevelled corners above.
Design for the Letter P of a Pictoral Alphabet: Pope
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letter above, flanked by intertwining rinceau. A Popoe in pontificalibus is seen seated in the act of blessing.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment in a conventionalized design of a circle with spokes surrounded by scrolling bands and triangles that suggest floral forms.
Spoon with Twisted Stem
Erik Barck, 1697 – 1718, ca. 1715
silver
spoon

Rounded bowl, revese engraved with curving, foliate terminated initialled band. Twisted stem wtih ball terminal engraved with four-petalled blossom at top.
Mountain Ridges, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844 and June 1845
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of mountain ridges in or near Catskill, New York, that extend from the foreground to the horizon, viewed from an elevated perspective. A nearby tree is visible in the foreground at left. In the middle distance, three rugged mountain ridges are layered one in front of the other as they march toward a rolling horizon in the background.

Verso: Atmosphere sketch showing a view of a massive, billowing storm cloud in the distance near Catskill, New York. The cloud's towering, puffy forms stretch horizontally across the composition, while rain might be shown at lower left, indicated by diagonal striations. At upper center, a vignette showing a detail of the cloud is included.
Study of a Woman in Profile
Daniel Huntington, American, 1816–1906, 1840–70
Graphite, white chalk on grey wove paper
Drawing

Study of a female figure with back turned to the spectator, and her left hand at her shoulder. She looks down in left profile. At left, a larger study of her face in profile.
Grotesque Design
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

A grotesque design surrounds a strapwork escutcheon. At bottom, two dogs on their hind legs reach for garlands hanging from trophies. Flanking the blank central panel are two figures.
Design for ceiling decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for overall symmetrical ceiling decoration featuring geometric sections in which mythological figures, rinceaux, and putti are arranged.
River Rapids, Part Two
Frederic Edwin Church, American, 1826–1900, March 1846
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the second part of a somewhat unclear view of rolling rapids in a wide river. At right, the water flows in ribbons over a ledge and into a slight depression in the river, causing the surf to froth and churn as it passes over rocks on the riverbed. These roiling waters continue out of frame at left. In the background, layered mountain ridges are faintly rendered extending into the distance.

Verso: Sketch showing a frontal view of a rowboat approaching the viewer on the water's surface as it carries three figures. Oriented upside-down at lower right.
Ornament Design with the Abduction of Helen
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
etching on paper
Print

1921-6-212-8-a: Panel with scene showing the abduction of Hélène o...;     1921-6-212-8-b: Two child figures, left 3/4 view, right rear view,...;     1921-6-212-8-c: 1st state. Rectangular panel, central shell surrou...
Sepulchral Monument for Poet Maria Maddalena Morelli
Giuseppe Barberi, Italian, 1746–1809, after 1795
Pen and brown ink, brush and brown wash, graphite on beige laid paper
Drawing

In a landscape with a citadel rising in the background at right, a monument stands upon a pedestal of three oval plinths. The monument is an urn surrounded by a group of three Gods: Apollo (at right, holding a lyre), Tiber (at left, holding a spear), and Minerva (in center, holding a laurel wreath). The gods are bestowing honors upon the bust atop the urn. The bust is inscribed with "CORILLA", and the urn with INPROVISO/ SI.BENE.CHE./ FU.CORONATA./ IN/ CAMPIDOGLIO".
Veuë de la Vigne Pamphile du côté du Midy
Franz Ertinger, German, 1640 – 1710, late 17th century
Etching on laid paper
Print

View of a basin in the foreground with a long cascading fountain framed by rows of trees. The small rowboat with musicians in the basin with a rockwork island and sculpture. In the background there is a large fountain with a temple façade. Figures and horseman throughout the grounds. The plate is titled and signed.