biglam/cooper-hewitt-alt-text huggingface dataset:
Textile
, 18th century
linen Technique: relief printed linen, quilted

Length, probably from a skirt, of quilted linen, with wide border along one side of block-printed linen, also quilted. Design a natural size all-over floral pattern in red, dark red, light blue and brown for outlines.
Sidewall and border
, 1800–1825
Block-printed and flocked on paper

a) Vase of floral bouquet centered within a wreath of wheat. Grapes, acanthus scrolls, and beads below. Vertical lattice stripe and wave molding on sides.  Gold, red, brown and shades of green on white; b/d) Bottom border, central medallion containing putti pulling chariot with butterfly, above foliate band across bottom pilaster bases alternate with wave design at top edge. 

H# 816 ?
Button
, ca. 1824
brass

1959-66-80: On card 5150
Textile
, 18th century
cotton Technique: mordant painted and dyed and resist dyed (chintz) on plain weave

Small scale all-over floral vine pattern in black, red, and blue on an ivory ground.
Sampler
, 18th century
silk embroidery on cotton foundation Technique: embroidered in withdrawn element work, aztec stitch, on plain weave foundation

Nineteen bands of pattern.
Two Male Peasants Singing
, late 19th century
Laquered wood, enamel, sandpaper
Matchsafe

Oblong, curved vertical sides, featuring square cental reserve with painted scene of two bearded males in Russian peasant dress singing. Character on left has brown hair, short beard, wears short black hat, knee length red shirt with blue sash, blue striped pants, black and brown knee-high boots, dark blue overcoat, and plays a mandolin; character on right has one arm around other male, and has white hair, long beard, wears tall black hat, knee length white shirt with red sash, white striped pants, black and brown knee-high boots, brown overcoat. They stand on dirt road against a green landscape and blue sky. Undecorated portions of box in black lacquer, all parts have clear crackle finish. Slip-top cover may be removed entirely. Sandpaper striker adhered to bottom.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Larger medallion containing fleur-di-lis, alternating with smaller medallion. Scalloped band along top edge. Straight band with line of "c" scrolls along bottom edge. Printed in green, brown, burgundy, and ocher on tan ground. Printed two across.
Standards and Wall Decoration, Banqueting Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1817
Graphite on white wove paper
Drawing

Canopy-like decorations of Indian design with wide compartments flanked by two narrow ones, each surmounted by domes. The narrow sections have columns with leafy shafts, the space between filled with geometric flower motifs. Hanging light figures in center.
Purse
, 1830–60
silk, metal beads Technique: beaded crochet

Small flat bag of crocheted silk attached at the top to two gold bars with filligree balls at the ends, with a gold sliding ring. The design is composed of horizontal bands of geometric design in black, orange and off-white with gold-colored and cut steel beads. Looped beaded fringe at bottom alternates strings of cut steel with gold-colored beads.
Leather Case For Traveling Cutlery Set
, late 17th century
leather, silk
case

Irregular shaped tapering leather case, lid attached to body with a silk cord.
Annunciation to the Shepherds
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

At upper left a winged angel stands on a cloud in a glory of light in which many winged cherubim fly about. The light is reflected at lower right, showing a group of frightened shepherds and their flock. The distance, left, and trees are seen in shadows of night.
Fragment
, late 17th century
silk Technique: damassé (5-harness satin, interruption of 2, warp-faced for background plus 4/1 twill, weft-faced for pattern)

Allover pattern in yellow and green of two types of long curved flowering plants: one type in one row, the other in the next row in offset alignment. Yellow silk woven weft-loop fringe attached to top, bottom and one side.
Allegorical Centerpiece of the "Four Continents"
Ludwigsburg Pottery & Porcelain Factory, German, 1758 - 1824, ca. 1760
hard paste porcelain, vitreous enamel, gold
centerpiece

Figures of Asia, Europe, Africa, and America placed on four sides of pierced, scrolled pedestal with fruit finial in center.
The Royal Pavilion, Brighton, Blue (South) Drawing Room, Proposed Wall Decoration
Frederick Crace, English, 1779–1859, ca. 1820
Graphite on paper
Drawing

Horizontal rectangle.  The central panel is composed of the painted representation of drapery suspended above by three birds, the drapery itself having a design of Chinese flowers.  The two narrow panels which flank it have designs of elephants and Chinese flowers.
Border
, 17th century
linen Technique: needle lace

Border of Plat Point de Venise with a swirling floral and foliated branch connected by brides picotées. Toilé showing gaze quadrillée and portes.
Borders
, 1800–1810
linen, silk Technique: counted stitch embroidery

Borders of upholstery fabric in a design of a floral scroll.
Border
, 17th century
linen Technique: needle lace

Border of Point de Venise à Rose with serpentine floral sprays outlined by cordonnet. Pattern connected by bars with picots and outlined by cordonnet.
Christ's Entry into Jerusalem
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1605
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: Christ riding on a donkey and colt, the animals side-by-side with a blanket spread across their backs. 
Verso: Christ's body being lowered from the cross, with the Mary kneeling in the foreground at right, another female figure, likely Mary Magdalene, kneels behind her. Joseph of Arimathea, Nicodemus, and a third figure support Christ's weight, while St. John the Evangelist kisses Christ's feet at lower left.
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper, liquid mica

Large trellis pattern composed of delicate, symmetrical floral swags. Cells contain diamond-shaped medallions composed of foliate detailing. Trellis and medallions are printed in gold on top of a white, allover zig-zag line-work pattern. Khaki ground.
Side wall elevation
Frederick Crace, English, 1779–1859, 1815–22
Graphite, pen and black ink, brush and tan-colored wash on wove paper
Drawing

Wall elevation with wooden doors at left and right, oblong panels above and between them.
Certificate of Membership in the Book-binder's Guild
Johannes Ibersperger, Austrian, 1750
Pen and red and black inks on parchment; silk ribbon with seal in wooden mount mechanically attached to certificate
Calligraphy

Horizontal rectangle. Certificate of membership in the guild of bookbinders issued by Simon Ibersperger to his son, Johannes, on 16 January 1750 upon his admission to the bookbinders guild at Klosterneuberg.  The calligraphy is very elaborate with a checkered red and black penwork border.  It is signed by four guild members in boxes prepared before signing.  A wooden seal of the guild dated 1651 hangs from two crimson ribbons attached to the vellum.
Fragment
, 500–700
wool, linen Technique: tapestry weave

Tapestry weave fragment showing green and purple design on undyed ground; figures and animals within guilloche interlace; at bottom, an advancing wave border
Tassel
, 17th century
linen Technique: braided and knotted Label: Braided and knotted linen, wood

White tassel of braided and knotted linen. A braided cord descends to an upper ball, from which hang six pendant elements of three braided balls each, terminating in clusters of knotting.
Flounce
, 1745–55
linen Technique: needle lace

Scalloped flounce with six-sided mesh containing large urns with flowers and cartouches with leafy fronds.
Sidewall
, 1875–1920
Embossed and printed paper

Brown simulated leather effect.
Ornament
, early 17th century
linen Technique: needle lace

Diamond-shaped fragment of centered sun motif and heart-shaped form connected by elaborate floral and foliated form.
Sidewall
, 1800–1825
Block-printed paper

Printed thickly in blue and white on turquoise ground, small scale scrollwork and floral motifs in regular repeat, vaguely within diamond grid. Printed on small sheet with margins on all four sides.
Portrait of Albrecht of Brandenburg
Albrecht Dürer, German, 1471–1528, 1524
Engraving on laid paper
Print

Portrait of Albrecht of Brandenburg, Cardinal and Elector of Mayence; upper left, coat of arms. Inscription in upper right and another inscription below portrait in margin. Verso: lettering and book ornament showing that this is from the book published in 1524.
Study of violet leaves and grass
William Trost Richards, American, 1833–1905, August 23, 1859
Graphite, brush and gouache on paper
Drawing

Sketch of violet leaves and grass.
Designs for Iron Balconies
Moreau, French, active 18th century, 1761-1762
Engraving on laid paper
Print

Two vertical rows of three varying iron designs for balconies. The plate is not signed.
Fragment
, 19th century
watercolor on silk Technique: painted on satin weave

White ground with a design of sprays of carnations, rose, lily and small five-petal blue flowers in dark pink, blue, green, yellow, brown, purple and orange.
Study for "Mercy's Dream"
Daniel Huntington, American, 1816–1906, ca. 1857–58
Pen and black ink, white chalk on gray-blue wove paper
Drawing

Female figure facing frontally, with her head turned to the right. She leans back on her right arm, with her left hand to her bosom. Drapery around the lower half of the body.  Study of left arm, at upper right.
Sketch for Portrait of a Seated Man
Daniel Huntington, American, 1816–1906, ca. 1875
Graphite on paper
Drawing

Man seated in an armchair with paper and pencil, facing left. His head turned, facing frontally, and his legs crossed.
Ornamental Medallion Designs
Théodore Bertren, active in France, 18th century, 1765-1768
Etching on paper
Print

Three medallion designs aligned vertically. The top medallion is decorated with attributes of the garden including a hat, a spade, a basket, and flowers. The middle medallion has attributes of music, including a lyre, a lute, a violin, a horn, and flowers. The bottom medallion is topped with motifs of the banquet including cups, pitchers, ewers, and grapes; the bottom of this medallion is framed by a grapevine. The plate is numbered but not signed.
Death of St. Joseph
Francesco Coghetti, Italian, 1804 - 1875, 1880
Pen and black ink, graphite on paper
Drawing

Jesus is preaching, sitting upon the bed; different attitudes of his left raised hand are sketched.  Mary, angels, cherubim are present.  On verso:  sketch of a servant.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

The design is an enriched variation of -87 showing besides leaves and blossoms branching off, a big lacy blossom covering the bough. At the bottom are a row of boughs with threee leaves and a flower each and a row of leaf scrolls. Somewhat more than one repeat is shown.
Playing card
, ca. 1855
Red and black ink, paper

At top: M 6 C; below central image: 1
In the Woods, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Oil and graphite on tan paperboard
Drawing

Landscape and botanical sketch showing a view of trees in the dense woods of Vermont. A center, the lower trunks of two light birch trees and one dark beech tree serve as the composition's focus. Rendered in great detail, the tree trunks extend out of frame along the upper margin. Red and green undergrowth covers the ground below, while numerous smaller trees form a screen of greenery behind the primary trees. Patches of clouds and blue sky are sporadically visible through the vegetation.
View of Rome, showing St. Peter's and the Vatican
, 1750–1775
Brush and watercolor on paper
Drawing

View from a hillside showing, from left to right, the Castel S. Angelo, Saint Peter's, and the Vatican. Umbrella pines in the right foreground.
Design for a Basin
Giovanni Lorenzo Bernini, 1598 – 1680, 17th-19th century
Pen and brown ink, brush and gray wash on cream laid paper on secondary paper support
Drawing

Vertical rectangle. Design for a shell-shaped wall-mounted basin, supported by a cupid below. At top, bust of a cupid with wings framing the face against the background of a shell.
Port Neuf Canyon, Idaho
Thomas Moran, American, b. Britain, 1837–1926, possibly 1879
Brush and watercolor over graphite, ruled in graphite on off-white laid paper
Drawing

Horizontal view of a large body of water in foreground and mountain ranges in the background.
Kitchen of Flamstead Cottage, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite and gouache on blue-green paper
Drawing

Architecture sketch showing a view of exterior of the kitchen of Flamstead, the estate of the English governor, Edward John Eyre. Viewed obliquely, the building's white exterior wall includes two doors, which both hang ajar. The building has a steep, shingled gable that rises to a kind of vent or chimney at upper center. In the background at left, trees and other vegetation are faintly rendered.
Design for the Hilt of a Hunting Sword
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, ca. 1750
Pen and black ink, brush and black wash, gray-blue watercolor on paper, laid down
Drawing

Probably the rendering of an actual object because of the lack of distinctness of the decoration necessary in a project.  The hilt of a dagger projects from the escutcheon on top of the handle. Rocaille motifs. A hunting trophy on guard.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a trophy with a fishing basket, nets, anchor, trident and leafy branches, framed by flowering branches, leaves and reeds.
Illustration for the Poem ‘Ode on a Distant Prospect of Eton College’
Thomas Gray, British, 1716 – 1771, 1753
Etching on laid paper
Bound print

Full-page illustration for the poem ‘Ode on a Distant Prospect of Eton College'. A scene of naked boys playing in a landscape with buildings in the background. Five boys play with birds in cages, another is paying with a hoop in the background and two swim in a river in the foreground. In the far background a group of boys stand beneath a tree. In the foreground, a male naked figure, the personification of water/river, leans on a jug of water spilling into the river, surrounded by reeds. Above the scene figures in the clouds with a skeleton. One has wings, the others are blindfolded or hide their eyes, holding weapons and a snake. The scene is framed by herms on either side. To the right, the figure of Medusa holding a flaming torch. To the left, a male figure looking down, with a snake tied around his chest. Below each herm, a lyre, and a palette with paint brushes. In the lower center, a trophy of flowers, a snake, dagger, hoop, and a ribbon with lettering. The upper section of the border is draped with fabric with a central mascaron, with flowers, branches, books, a candle and two burning vases.
Plan et elevation d'une porte pour un parc
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation for an iron park gate, decorated with a monogram and crown at center. On the sides of the gates are vases. The plate is signed.
Bamboo, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray-green wove paper
Drawing

Botanical sketch of a bamboo plant in Jamaica. Primary stem of the plant, with its small branches, is oriented diagonally across the composition. Two smaller details of the bamboo stem are visible upper left and lower right.
Fragment
, ca. 1760
silk Technique: plain weave patterned by floats of a supplementary warp and discontinuous supplementary wefts

Fragment of chartreuse green silk with brocaded design of conventionalized flowers and foliage in purples, yellow, green, pink, red and white. Cut for a chair seat. Probably after a design by Pillement.
Theagenes taming the Bull in Ethiopia [above left]; Theagenes taming the Bull in Ethiopia [below left]; Dragon Hunt in India [above right]; Dragon Hunt in India [below right].
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Recto: pen and brown ink, brush and brown and black washes over black chalk, with corrections by the artist in white opaque paint on laid paper Verso: pen and brush and brown and black inks over black chalk, with corrections by the artist in white opaque paint on laid paper
Drawing

Recto, above left: A crowned figure sits on a platform at right. Before him, in an arena, a man kneels beside a bull on its back. A nearby man rides a bull, clasping its horns, while another figure rides a horse. 
Recto, below left: A crowned figure at right watches men in an arena attempt to subdue bulls. One bull is on its back at left, with a man kneeling beside it. Another man rides a bull at left. At the center is a cluster of men, horses, and bulls. 
Recto, above right: A dragon lies dead in the foreground of a landscape. Men surround it. In the background, a man raises an axe to cut off the head of a second dragon.
Recto, below right: A dragon has been beheaded in the foreground of a landscape. Men lift gems from its head and gather them in a sack. In the background at left another dragon attacks other men, while at background right a man raises an axe to behead a third dragon. 
Verso, above right (inverted): Inscription, only some of which is intelligible. Includes an address in Venice.
Verso, below left (rotated): In a landscape, two pilgrims stand near an altar with a figure of mars upon it.
Verso, above right: Interior view with the birth of the Virgin. In the background, St. Anne lies in bed as an attendant brings her a bowl of water. In the foreground, near the hearth, two women bathe the infant Mary.
Verso, below left: A crowned figure observes from left as men attempt to subdue bulls in an arena. One bull is on its back, with a man kneeling over it. Another man rides a bull in the center foreground, clasping its horns.
Title Page
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Title page and ornament design with a woman (angel) with outstretched wings, and from the waist down, scrolling leaves (rinceaux), foliate scrolls, and fleurons, flanked by cornucopia of fruit. The plate is titled and numbered.
The Unfortunate Elephant
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Center, profile of an elephant with trunk stuck between tree trunk. Various animals around him, watching.
Design for a Pavillion
Giuseppe Barberi, Italian, 1746–1809, 1789
Pen and brown ink, brush and brown wash on lined off-white paper
Drawing

Colonnade, which is topped by statues, connects the projecting wings, the facades of which show a loggia between pairs of pilasters. The inscription begins well below the drawing and then is continued above.
Cartouche with Plumed Helmet
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical rocaille cartouche topped with a plumed helm and surrounded by armorial trophies. A putto figure wearing an animal skin at upper left; lion skin draped across cartouche at center.
Study for "The Education of Cupid"
Kenyon Cox, American, 1856–1919, 1917
Graphite on tracing paper
Drawing

Sketch of a pillar, surmounted by a bust of Hermes in profile.
Rhone Valley between Sion and Visp, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the Rhone Valley in the region of Switzerland known as Valais. River in foreground at right winds its way into and through the valley. Steep mountain slopes hem in the valley on either side and extend toward the horizon.

Verso: Mixed sketches around the Rhone Valley, Switzerland, showing views of a tower and a building with an arched colonnade in upper portion, a town nestled in a river valley with tall cliffs, at center, and in the lower portion and oppositely oriented, the facade of a large building and a seated figure by a cart are shown.
Elevation of a Drawing Room Entrance Wall with Alternative Suggestions
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

In the center are three panels, between two doors. In front of the central panel, upon a pedestal, stands a group of two children. Alternative suggestions are made for the latter. The outer panels, as well as the ones between the doors and the corners, are protruding. In front of them, upon pedestals, stand statues of women. The wall has a dado and an entablature. Below the latter are paintings.
Figure and Architecture Sketches, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Figure and architecture sketches showing various views of individuals and a church in Mexico. At upper left, a small church with a gabled roof and a large doorway is viewed obliquely, while at lower right, the church's ornate cross is sketched in detail. At lower left, center, and lower right, eight figures are shown largely from behind, as most of them wear hats and/or draped clothing. At upper right, a portion of a heavily wooded hillside is minimally sketched.

Verso: Sketches from Mexico showing, at lower right, a standing figure wearing a hat and a poncho who faces us with his legs crossed; at center, an extremely loose outline of a rugged mountain range with a sharp peak; and at left, a fragment of a larger view that includes a dark and rugged mountaintop.
Cabares
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Teapot made of shells with floral finial, supported by four curved legs. Below, sugar bowl made with shell and four cups. The plate is signed and numbered.
Cloudy Skies, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on bright green paperboard
Drawing

Landscape sketch showing view of a wooded hilltop in Jamaica, and the billowing clouds above. Hazy sky beyond is rendered in shades of yellow, pink, and blue. A lush and rugged mountain ridge in the foreground descends to the left.
Designs for Candlesticks and Console Tables
Henri Sallembier, French, ca. 1753 - 1820, 1777–78
Etching in red ink on paper
Print

Designs for two candlesticks or incense burners and two console tables featuring snakes, rosettes, birds, putto, festoons of flowers, scrolling leaves (rinceaux), cartouches and swags of textiles. The plate is numbered.
Compartimens pour des Plafonds
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Two designs for ceiling ornament decorated with neoclassical motifs including laurel leaf and ribbon, meander patterns, lamb's tongue, and geometric moldings, profile portraits, friezes, figures, and rosettes. A plan view is included below each design, with a scale along the bottom. The plate is titled, numbered, and signed.
Design for the Painted Decoration of a Ceiling
G. Albergotti, ca. 1830
Pen and dark ink, brush and watercolor, silverweight heightening on light green-gray paper
Drawing

Divided into four squares with inner circles, three dividing those into a band and a central circle. That above at left has inside a pan flute and outside a vine garland; that above at right has a similar garland and inside two hats and a ribbon. Below at left are outside two laurel branches, inside a Medusa head. Below at right is a satyr mask in the center of laurel branches.