biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Alternating medallions framed by acanthus leafs and filled with floral bouquets. Large "C" scrolls and groups of flowers swirl upward towards the medallions from the bottom of the frieze. Background contains a gold, pebble pattern. Printed in gold, beige, and green.
Frieze
, 1905–1915
Machine-printed paper

Folliage and flowers; band across bottom; metallic copper accents. Two borders printed across the width.
Fragment
, 16th–17th century
linen Technique: plain weave embroidered with withdrawn element work, needlework filling stitches, bobbin lace

Woven linen fragment with withdrawn element work and embroidery showing a diamond lattice design, and bobbin lace on one edge.
Footed Bowl
, ca. 1810
glass
bowl

1986-61-142: Oval-shaped bowl with scalloped rim, on the sides ...;     1986-61-143: Urn-shaped body, tapered neck, shaped lip with pou...;     1986-61-183: Straight sides cut with strawberry diamonds, top a...;     1986-61-217: Round bowl with large turned-over rim on stem with...
Floral Design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Four green ferns, four red flowers, four blue and white flowers against black background with small brown triangles and ferns.
The Hammock
James Joseph Tissot, French, 1836 – 1902, 1880
Etching on paper
Print

A young woman is seated in a hammock, reading a book. A small bamboo table is seen in foreground, lower left. At lower right, an open umbrella.
Sketches in Milan
Arnold William Brunner, American, 1857–1925, 1892
Graphite on paper
Drawing

Sketches of two chimneys, below, and houses, above.
Knife with Porcelain Handle (One of Four)
Chantilly Porcelain Manufactory, French, active ca. 1725 - ca. 1789, ca. 1735–1740
soft paste porcelain, vitreous enamel, silver, steel
knife

Leaf-shaped blade with staright sides. Plain bolster. Silver ferrule with horizontal bands. Tapering white porcelain handle with kakiemon design in green, blue and yellow (underglaze) and red-brown overglaze. End of handle rounded with silver button cap.
Senegal Lark-Hell, Plate 20 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Bird in a tree; mountains and stream beyond. The bird has a dark brown cap and tail, red-brown wings, and pale underside. Title and artists' names below.
Study of lagoon, Venice, Italy
William Stanley Haseltine, American, 1835–1900, ca. 1871
Brush and watercolor, graphite on paper
Drawing

Sketch of the lagoon with sailboats and an island on the horizon.
Butter plate
, mid- 19th century
Molded earthenware, underglaze and overglaze decoration

Molded basket pattern, with relief kerchief and morning glory, in blue and green.
Hara, Fuji at Daybreak, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Fuji rising from a group of lower peaks on the far side of rice fields; its peak going above the upper line of the frame line. In the foreground, two women and a porter pass along the road to the left. Two cranes in the rice field.
Designs for Two Knife Handles
Johann Theodor de Bry, German, 1561 - 1623, 16th century
Engraving on paper
Print

Two knife handles with classical and figural motifs terminating in a pierced top
Design for a Window, Possibly for Lobby or Vicinity South of Dining Room
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, pen and ink on paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Design for a section of a wall with double glass doors; on both sides are narrow panels with painted designs of lattice-work, flanked by columns.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Fragment
, 19th century
silk Technique: plain compound satin

Allover geometrical design in rose and blue on light blue ground.
Sidewall
, 1870–1900
Block printed on continuous paper, embossed

Stylized floral design, embossed and printed in gold on brown ground.
Sidewall - fragment
Huet, 1800–1825
Block printed on paper

Arabesque design, putti in gold medallion with pink background, sphinx perched on a lambrequin. Printed in shades of gray, pink and ocher on blue ground.
Bowl
Meriden Brittania Company, Meriden, Connecticut, USA, 1808 - 1898, ca. 1898
silver plated, britannia metal
bowl

Low bowl with in-curving side, two scrolled cartouches surrounded by floral scrolls. Beading on rim and foot.
Portrait of a Young Woman
Unknown, American, ca. 1895
Oil on canvas
Painting

Bust length portrait of a young woman, body turned to observer's left, head facing front. The woman is unidentified.
Sample
, late 18th century
silk and metal-wrapped silk embroidery on silk foundation with metal sequins, bullion and brilliants Technique: embroidered in satin, stem, couching, and knot stitches on supplementary warp pile (velvet), cut and voided

Brown cut and voided velvet with a small scale geometric pattern, embroidered with metallic gold thread, gold metal sequins, bullion and white and yellow silk floss in a large floral pattern in the style of Jean Francois Bony.
Textile
, 1760–70
linen, cotton Technique: block printed on plain weave

Half-drop repeat of flower blossoms, leaves and seed pods in bright colors heavily outlined in black on a white ground with red picotage.
Embroidered picture
, 1908
cotton Technique: stem, satin, surface satin and running stitches on a 4&1 satin foundation

Picture in bright colors of an eagle on a rock with a flag and pennants coming from its beak. Embroidery done over a painted outline.
Bag
, early 19th century
silk, metal Technique: crochet

Small spade-shaped crocheted purse. Bottom portion contains metal thread with pink and green silks in a floral design. The top is all silk, in reds, pinks and green, in a harlequin pattern. Drawstring of braided green silk.
Textile
, late 18th–early 19th century
cotton Technique: block printed on plain weave Label: block printed on cotton plain weave

Fragment of block printed cotton in green, red, purple and black on light brown ground. Allover pattern of stylized floral bouquets.
Study of foliage
William Trost Richards, American, 1833–1905, ca. 1860
Graphite, brush and gouache on paper
Drawing

Sketch of a jack-in-the-pulpit plants.
Under Her Own Vine, Illustration for "Modern Athens"
Corwin Knapp Linson, American, 1864 – 1959, ca. 1901
Graphite; brush and gray wash and white gouache on white wove paper
Drawing

Scene depicts the courtyard of a mediterranean home, shaded by a grape arbor, with chickens pecking underneath at right.  A woman sits on a flight of steps at left, spinning a distaff.
Textile
, 18th century
linen on linen Technique: satin, surface, buttonhole, drawn and other embroidery stitches on plain weave

Strip of white linen embroidered in white linen in design of conventionalized flowers and leaves with scrolls.
Frieze
Howell and Brothers, 1835 – 1900, 1905–1915
Machine-printed paper, liquid mica

Repeating motif of pansy-like flowers, in clusters of six flowers. Flowing around these clusters are foliate sprigs, printed in mica. Borders printed two across. Printed on beige ground.
Sidewall
, 1873
Block-printed

Floral and foliate design, printed in shades of blue.
Yokkaichi, River Scene, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

High wind blowing from right across marsh. Right, peasant, cloaked in yellow, on trestle-bridge; another runs to left to catch his hat which has blown off. Center, willow tree. Left, roofs of cottages and boats' masts.
Jardinière
Mennecy Porcelain Manufactory, French, active 1735 – 1773, ca. 1750
soft paste porcelain, vitreous enamel
jardiniÃ¨re

Four-lobed oval, with curved, flaring sides, on straight foot. Polychrome overglaze clusters and sprays of flowers scattered over inside and outside. Blue band on inner and outer edge and foot.
Textile
, 1780–89
cotton Technique: block printed on plain weave, blue applied by block.

Straight repeat of widely-spaced flowers on an undyed ground. Two large flower groups surrounded by tiny flowers.
Fork
, late 17th century
Bronze

Cast, three-tined fork, square shoulder. Central tine elongated. Polygonal stem terminating in flat hoof-like pad.
Renaissance facade
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Renaissance facade with three niches and a small pediment above the central niche.
The Peddler
Jerome Myers, American, 1867–1940, 1903
Graphite and black crayon on cream wove paper, laid down
Drawing

Figure of a bearded peddler of shoe-strings standing beside a lamp post. Other sidewalk vendors in the background. View of city street and buildings beyond.
Waistcoat fronts
, 1770–80
silk, paint Technique: embroidery using float, satin and chain stitch, painted details

Two fronts of a gentleman's waistcoat, with no collar, cut-away hem edge, and shaped pocket flaps, embroidered in twenty-four colors of silk, on an ivory silk ground. Overall tiny floral sprig, floral border at center front edges, floral sprigs and swagged garlands at lower edge.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and wash, graphite on paper
Drawing

Sketch of a walkway on a hillside with water in the distance.
Frieze
, 1905–1915
Machine-printed paper

Grouping of three stylized flowers, set within medallion, alternating with single flower within medallion. The background is a fish-scale pattern with a floral motif at each intersection. Printed in pink, green, yellow and brown on tan ground.
Sidewall
M.H. Birge & Sons Co., 1834, 1890–1900
Embossed paper

Embossed floral bouquet set within a basket weave textured diaper pattern.  Entire surface is printed in an off-white color.
Sidewall - sample
, 1906–08
Machine-printed

Damask-like design. All-over pattern of large pink flowers on vines. Printed on lighter pink background.
Embroidered picture
, 1815–25
wool embroidery on silk foundation Technique: embroidered in stem, cross and knotting stitches on plain weave

Picture of a small boy carrying a hat in a rural landscape. After an engraving "Father's Joy" published in 1815 by T. Palser, Westminster Bridge. Glazed and framed with eglomisé glass.
Chair seat
, 17th century
silk Technique: counted stitch embroidery

Small chair seat showing an urn of flowers with birds, leopard, lion and rabbits.
Textile
, 18th–19th century
wool, silk, cotton, linen, silver foil on silk core (1952) Technique: evensided twill; compound twill on band (1952)

Rectangle of plaid with broad central vertical blue band and widely spaced horizontal and vertical stripes in green, yellow, blue, white, on a dark red ground. Horizontal band near bottom with geometrical pattern of diamond S-shapes in cerise, red, yellow, blue, green, purple, white and black twill.
Ceiling paper
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper

Large trellis pattern, trellis with beaded and zig-zag scalloped borders. Each cell of the trellis contains a large floral wreath, which in turn contains a single flower. Diamond trellis pattern enframing a wreath within each diamond. Smaller floral wreaths mark the intersections of the cells, and bunches of flowers are evenly spaced along the trellis. Pattern is printed in browns, grays and greens on a khaki ground.
Textile
Schwartz-Huguenin, mid-19th century
cotton Technique: printed by engraved roller on plain weave; glazed

A) Background with grey moire effect, dotted stripes in clusters and fine pinstripe in grey. Floral pattern of natural size rose clusters and foliage in green, light grey-green and brown, glazed. Ground by "molette", pattern roller printed. 
B) Same pattern in different colors; ground  the same; flowers in pale rose.
Design for Blue and Silver Wall Decoration for the Royal Pavilion, Brighton.
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush and watercolor, graphite on paper
Drawing

Design for a wall panel, with a large painting of a Chinese-inspired landscape representing a group of trees silhouetted against the sky and three large urns on stands in the foreground. The painting is enclosed by a decorative border, and flanked by narrow vertical panels with trellis design.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on grey paper
Drawing

Four stems with flowers and foliage at center of page. From left: stalk with pink and white flowers running most of its length, stalk with red and purple flowers running most of its length, stalk with two violet flowes, and stalk with white flowers running most of its length.
Border
, 1810–30
Block-printed and flocked on paper

Classical detailing with wide acanthus rinceaux at top and narrower guilloche-like pattern below. Printed in in shades of ocher against a rust-color ground.

H# 372
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a figure fishing off of a rock jetty.
Man in a Storm
Walter Appleton Clark, American, 1876–1906, 1899
Brush and green, grey, and black washes, with white chalk and graphite, on white watercolor paper
Drawing

A man seen from the right, walking in a storm, his head bent into the wind and muffler flying.
Fragment
, 17th century
silk, metal thread Technique: appliqué

Vertical arrangement of scrollwork and floral forms in yellow and white on a red ground.
The Annunciation, Study after Orazio Samacchini, Forli
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and light brown wash over black chalk on white laid paper
Sketchbook folio

Angel of annunciation comes in from left while Madonna kneels at right, looking back to angel. Setting is curtained interior, with angels and putti on clouds above.
Sketches of Sheep
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite on paper
Drawing

Eight animals are shown. Most are grazing, two are lying.
Man with Donkey in Landscape
, early 19th century
Pen and ink on paper
Drawing

A small figure with donkey in a landscape, framed by trees. A mountain rises in the center distance.
Trophy Design
François Marie Isidore Queverdo, 1748 - 1797, ca. 1767
Etching on paper
Print

An allegorical hanging trophy design representing painting with its attributes including a palette, paper, measuring devices, paint brushes, an easel, flowers, and foliate branches. At the top, an oval medallion with a woman at an easel, painting a basket of flowers on a canvas.
Bed Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Left half of a tented bed alcove shown. Visible within is a bedframe decorated with cherubs and a leaves. A small square, possibly representing a mirror, shows another view of the tenting.
Berline de Parade à 7 Glaces
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a carriage, depicting the back and side view. The carriage is decorated with branches and crowned monogram, and carved with ornament motifs including helmets, pinecones, vines, garland, acanthus leaf, and lion mascaron. The plate is signed and numbered.
Imaginary Landscape with Ruined Tower and Bridge
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and black ink, rubbed graphite on off-white wove paper
Drawing

Landscape and architecture sketch showing an imagined view of a landscape with a bridge and ruined medieval tower. Grassy terrain stretches along the foreground along the lower margin and hosts a tree, at left. This tree frames a view of a double-arched bridge in the background at center that spans a river and leads to a ruinous, cylindrical tower at right, which is shaded by dark, billowing clouds in the background. Another tree, cut off at right, also frames the view.
Plan pour un Bâtiment de l'Ordre Corinthien
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Plan for a building designed in the Corinthian order, and featuring rooms including a large living room, a dining room, a bed room, small and large private cabines, and terraces. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Cloud Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Atmosphere sketch showing the sun shining through and illuminating diverse clouds above the skies of Jamaica. Sun is visible at upper left, with rays cascading down through the clouds.
Design for Three Brooches
, 1825–50
Pen and brown ink, brush and gray wash on cream wove paper
Drawing

Large brooch: a cross is formed by four round diamonds, the central one being bigger and framed by a circle of diamonds, from it spring drapery festoons formed by diamonds. Smaller brooches are shaped like handles; left one with two leaves and a blossom, right one with a blossom, a leaf and a knot.
Ecstasy of Saint Teresa
Felice Giani, Italian, 1758–1823, 1813–18
Pen and brown ink, brush and brown wash on paper
Drawing

On verso: three pilasters
Soffit and Vase Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four square soffit and two vase designs. The soffit on the upper left of the plate is labeled "Bacchus," and has a tambourine trophy in the center, and flower rosettes in the corner. The soffit on the lower left is labeled "Apollon" and has a trophy with a lyre and horns in the center, and surrounded by a laurel wreath. The soffit on the upper right is labeled "Flore" and has a wide mouthed vase filled with flowers in the center, and budding leaves in the corners. The soffit on the lower right is labeled "Cerès" below and has a bundle of wheat in the center surrounded by a wreath of flowers. The two vases are in the center of the plate. The top vase has a narrow neck and a garland of flowers. The lower lidded vase has a wide belly and two upturned, geometrical handles. The plate is signed and numbered, but the top lettering is not visible in the binding.
Sketch for Portrait of Dr. Muhlenberg, Notes on Hugh Baxter
Daniel Huntington, American, 1816–1906, March 1865
Graphite on paper
Drawing

Man seated in armchair, facing towards his right, his hands clasped together. His hands are repeated twice, above his left shoulder. Additional color notations below.
Sidewall
, 1835
Block-printed on machine-made paper

Two joined widths of paper printed with a repeating design of flowers and foliage rinceaux. Printed in gray, green, brown and yellow on machine made paper with satin ground.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of a central band with eight-petal yellow flowers separated by lines and between blue borders on a pink ground; picot edges.
Architectural Sketches near Tlalmanalco and Miraflores, Mexico
Frederic Edwin Church, American, 1826–1900, March 1885
Graphite on off-white wove paper
Drawing

Architecture sketches showing views of buildings and ruins around Tlalmanalco and Miraflores, Mexico. At left, an extremely ornate, undulating doorway is sketched in detail. At right, a large rectangular building, like the nave of a church, is visible in front of the faint outline of a sharp mountain peak. 

Verso: Landscape sketch showing a view of Citlaltépetl, also known as Pico de Orizaba, from the city of Orizaba, Mexico, or a location nearby. Prominently situated at center, the mountain has one sharp peak at right that descends to a shorter subsidiary peak at left. The mountain is snow-capped and dark fields of rock and soil are visible. Below it and to the left, the outline of the same mountain is visible.
Fragment
, 19th century
silk Technique: bobbin lace

Multicolored floral design with ground in pale green silk
The Landing of the Fathers at Plymouth
Enoch Wood, English, 1759 - 1840, 1820
Glazed earthenware, transfer-printed decoration
Pitcher

Slightly tapered globular body with cylindrical collar and simple lip; shaped flat handle.  Decorated on two sides with medallion showing THE LANDING OF THE FATHERS AT PLYMOUTH, and medallion with names of leading pilgrims with date of landing.
Rank badge
, mid- 19th century
silk embroidery on silk foundation Technique: embroidered with satin and couching stitches on satin weave

Rank badge for a civil official. Embroidered silk showing a bird facing a sun disk surrounded by auspicious symbols. Ground of clouds with diagonal lines at bottom and meandering key border. Seam down the center. Lined with blue silk.
Design for a Printed Vertical Border
, 18th century
Graphite, brush and gouache on paper
Drawing

Lower left corner is shown. Rinceau with leaves, blossoms and buds.
Sample Sheet, Two Designs for Cups and Saucers
, ca. 1825
Brush and gray, yellow, brown watercolor on cream paper
Drawing

Two designs for cups and saucers probably made of cut glass, opal, hyalite. Arranged in a vertical row showing a cup at top, a saucer below, the number "7" inscribed in pen and black ink in the interval between. Second design for a cup and saucer below with the number "8" inscribed in pen and black ink in the interval between. The cup handles are at right. The decorating in the upper designs are variations of the lower ones in 1938-88-732 (framing bands and garlands with vermicular ornamentation) and the decorating in the lower designs consists of gold framing bands and gray flutes.
Playing card
, ca. 1855
Red and black ink, paper

At top: N 3 N; below central image: 1
Glorification of St. Filippo Neri
Giacomo Farelli, Italian, 1624 - 1706, 1624–1706
Pen and brown ink, black chalk on cream laid paper; verso: black chalk
Drawing

The saint is carried upwards, kneeling upon a cloud, and accompanied by angels, two of whom carry a lily spray and a sheet of paper. The upper outlines of windows are probably indicated below at left and at right. Verso: indistinct figure sketches (in black chalk).
LES ORDRES CORINTHIEN ET IONIQUE
Louis-Gustave Taraval, French, 1738 – 1794, 1768–75
Etching on paper
Print

Design for a portico and building façade featuring Neoclassical motifs associated with the classical architectural orders of ancient Greece and Rome. The stairs lead up to a doorway framed by columns. Above the doorway, a frieze with a hanging swag, and a blank oval roundel with festoons of leaves. Above an arch with a sculpture of a cross and two vase finials. The portico is framed by fluted corinthian pilasters supporting an entablature and a pediment. The building has a domed roof, and a balcony level with a meander pattern frieze along the balustrade. The plate is signed, titled, and numbered.
Fragment
, 18th century
cotton Technique: printed on plain weave; red

Fragment shows a man playing a violin and a boy playing bagpipes while a man and two children watch. Group is shown under trees near barrels.
Saint Magdalen Repenting
, 1600–1650
Black chalk on gray paper with white heightening
Drawing

Recto: (a) Three quarter figure.  Shown from front with naked upper part of body.  She is sitting beside something, upon which she leans her arm that supports her hear.  Verso: (b) the Virgin kneeling in clouds, shown from the front; above at right the outlines of a flying angel.
Cap crown
, ca. 1820
linen Technique: needlework on net

Central floral spray design in varied stitches. Tiny two-leaved motifs powdered over ground.