biglam/cooper-hewitt-alt-text huggingface dataset:
Plaque
, ca. 1700–10
Tin-glazed earthenware

Oval plaque with molded border, 2 holes at top for hanging; painted in underglaze blue on white with grotesque decoration composed of fruit, birds, mask, lambrequin; around the border with a scroll pattern covered with blue; back plain.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Floral sprig with two flowers within a quatrefoil ornament, with smaller sprigs in spaces between ornaments. Printed in yellow, green, and white mica.
Tradecard, Crace and Son
, ca. 1837
Etching, brush and aquatint on paper
Print

Center of circle, female nude represent the arts holds card with trade information.
Study of Cliffs, Mt. Desert, Maine
William Stanley Haseltine, American, 1835–1900, ca. 1859
Brush and watercolor, graphite on wove paper
Drawing

View of rocky cliffs topped with pine trees; pond below.
Darning sampler
S. Hille, 1841
silk, cotton, wool Technique: embroidered in running (pattern darning) and cross stitches on plain weave foundation

Fourteen squares of darning with cut-out backs, six squares of pattern embroidery.  Names at center may be teacher and embroiderer.
Sidewall
, 1830–50
Block-printed

Tile pattern, series of floral sprigs in alternate, printed in shades of blue on white.
Sidewall
Alfred Peats Company, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Large-scale floral and scroll medallions. Each medallion is printed in shades of pink and contains multiple small white flowers. The background is pink printed on a deep tan ground.
Sketchbook Page: Young Man with Sketchbook
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Young man with a sketchbook, possibly a self-portrait. He holds the sketchbook in his right hand, and sketches with his left hand.
Boats Sheltered by Rocks on Shore near Choppy Sea
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Boats in foreground at left, on beach, with a  large, black rock directly behind them. At right, choppy sea with rocks in middleground and a landmass in the distance.
Doorway in Orléans
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Arched doorway, with child and baskets. Detail, right, of head in center of the beam above.
Sketches of Heads
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper; verso: green paper
Drawing

Left, sketches of three men with hats, right profile. Center, bust of woman with hat, left profile. Left, bust of woman with hat and braid from behind.
Connanicut Island with Fort Adam
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves crashing against rock and cliff in left foreground. Second rock at right in middle ground. Large cliff in left-center distance with (possible) structure atop. Miscellaneous pen strokes in margin to right of image.
Textile
, ca. 1850
cotton Technique: printed by engraved roller on plain weave

Cream colored cotton, printed in black. Scenes from Don Quixote. Elaborate enframents in rococo style for various episodes. On grouped emblems inscriptions: Amadis de Gaula, Ami Dulcinea". On another: "Post Tenebras Spero Lucem, Galatea, Buscapia, etc." Both selvages present. Each scene about 0M260 high (10 1/2").
Fragment
, 16th–early 17th century
silk Technique: supplementary warp pile (velvet), cut and uncut

Four fragments of cut and uncut silk velvet in small scale stylized patterns.
Sketchbook Page: Psyche's Lovely Self
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Verse beginning: Not Psyche's lovely self [?] 
Verso: Caricature of a man in a hat in profile, facing left.
Shawl fragment
, 19th century
wool Technique: tapestry weave with interlocking

Very brightly colored flowers of various kinds including a rose in a curving spray on a white ground. Very fine wool in a superlative use of tapestry technique including interlocking hatching. Several shades of each color. Appears to be part of a longer panel with other flowers. Selvage on each side.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Overall large yellow rose vining with a background of vertical white mica bead and reel stripes. Printed in greens, yellows white mica, and green browns on off-white ground.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Machine-printed, gauffre, gilt, flock

Gauffred gold bands decorated with two rows of black diamonds; flanking maroon flocked strips of equal width. On border, in gilt, 1086 and AWPMA in cartouche. (Initials stand for American Wall Paper Manufacturer's Association.)
Eight of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Eight of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Overall trellis design, with squares at intersections. Floral motif set inside square. Many intersecting dotted lines in void.  Printed in green, brown and metallic gold on tan ground.
Portrait of Josse de Momper, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1660
Etching on paper in black ink
Print

Half-length portrait in three-quarter view to right. He is gesticulating with his right arm.
Sampler
Susan Eve, 1668
silk embroidery on linen foundation Technique: embroidered

Floral vines in bands.  Alphabet in two bands at bottom.  Signed SUSAN EVE 1668.
Textile
, 9th–12th century
undyed linen warp (Z2S), Z-spun wool weft with S-spun undyed linen Technique: weft-faced plain weave; slit tapestry with non-horizontal wefts

Tapestry band in Sassanian style shows two pelicans on either side of a conventionalized tree of life. Pearl roundel above encloses an eight-pointed star.
Band
, 17th century
silk, metallic thread Technique: appliqué

Narrow band with an appliqué of leaves in yellow on red.
Sharkskin Cutlery Case Lid
, ca. 1700–1800
sharkskin, wood
case lid

Top (a), wooden lid covered with shagreen, slides on case (b)
A Parisian Ball – Dancing at the Mabille, Paris
Winslow Homer, American, 1836–1910, November 23, 1867
Wood engraving in black ink on paper
Print

Couples dancing in the center of a dance hall. Large crowd of men with top hats in background.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Alternating large and small bouquets of open and closed white flowers. All stems--both straight and waving--are attached to the bottom panel. Top has stem-like scrolls. Background has intersecting horizontal and vertical white lines that form a grid with certain lines that are thicker than others. Ground shades from a beige to a yellow cream (bottom to top). Printed in tan, white, and gold mica. 
Printed in selvedge: "S. A. Maxwell & Co. 2716 C"
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Bouquet of large-scale roses and tulips in polychrome on an off-white ground. Smaller meandering flowers fill the background.
Ceiling paper
Frederick Beck & Co., 1860, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern formed with scrolling acanthus foliage, with a circular acanthus containing a floral sprig,  at intersection.
Plate LV from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Machine for lifting a small boat, right, up a cliff from the water. A crame with hooks, pulleys, and rope. One man winding the rope, and two ready to swing the crane, left. Description in Latin on verso of 1949-152-252.
Sampler
, 1854
silk, metal, cotton and metal-wrapped cotton threads on cotton foundation Technique: embroidered in satin, stem, knot, herringbone, overcast cords, running and cross stitches, with deflected element work with overcasting

Marking sampler with alphabets, names, and initials with motifs and crowns.  In the center the name Louise, a coat of arms, and a town on the riverside.
Textile
, 1830–1840
cotton Technique: intaglio printed, monochrome

Pillar print with stylized Corinthian and Ionic capitals of flowers and leaves. An eagle in profile has a shield flag between outstretched wings.
Two Projects for Painted Grotesque Decorations of a Ceiling
, ca. 1590
Charcoal, pen and ink, brush and greyish-brown watercolor on laid paper.
Drawing

Horizontal rectangle. The wave band is drawn on both sides, fret bands are indicated as decorations of the central frames. Below, in the center of the rhomboidal panel is an ooblong tablet support by the wings of a half-figure. Rinceaux bars spring with vases from which branches rise, forming a half circular panel. Enclosed are two birds and a hanging gem. Below are two winged tigers. In the scythe of the rhomboidal panel, on the reverse of a candelabrum, there are a half-figure of a winged woman, a lekythos and rinceaux. Two birds are beside it above. Laterally are two winged half-figures, from whose rinceaux spring, with birds atop.
Kusatsu: From Kusatsu to Yabase, a Bow and Bowstring (Kusatsu, Kusatsu kara Yabase michi no yumi to tsuru) from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

A quiet landscape looking out onto the ocean shows ships sailing off into the horizon. While a number have departed while two more a set to sail, the remaining four are waiting at the docks to cast up their sails. All are bound for a peaceful journey towards the rocky mountains.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, ca. 1819
Cast bronze
Medal

Bust of Philibert de l'Orme (c. 1514 -1570), to the left.
Textile
, 17th century
silk and metallic thread Technique: plain compound cloth

Deep red ground with pattern of large-scale ogive enclosing a central stylized rosette. Pattern produced by extra wefts of silver thread (flat metal strips) shot through the surface-when not needed for design pass to reverse of fabric--results in a damask-like effect.
Plate 8 from Cahier d ornements et frises dessinés (Book of Ornaments and Friezes)
Henri Sallembier, French, ca. 1753 - 1820, 1777
Engraving on paper
Print

Page divided horizontally into two friezes, each with an arabesques. At lower right, a partial trophy and oval tablet with putti.
Trophy Design
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching in red ink on laid paper
Print

A design for a military hanging trophy printed in red ink, incorporating armor, a helmet, drum, ball on chains, flags with the three fleurs-de-lys, spears, a club with spikes, an axe, palm leaves, foliate branches and ribbons. The plate is signed.
Design for a Sanctuary Lamp
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Design for a hanging thurible (censer) with the top part of the design in the lower left corner. The design features putti (children), a cartouche with figures, scrolling leaves, acanthus leaves, festoons of leaves, c-scrolls, shells, ribbons, and a hanging tassel.
Design for Clock
Lefebvre Manufactory, Tournai, 1800–1825
Graphite, pen and brown ink, brush and yellow, grey, black and brown-red watercolor on cream laid paper
Drawing

Dial suspended underneath classic arch, supported by four columns, a vase atop each column. Drapery and a head framed by two griffins hang below the dial. An integrated base with tapered knobs rests upon a black base with cushion feet. 

Inscription: 
Pen and brown ink: 4 Colones; No. 114. / 
Graphite: Presented to the Misses Hewitt

Lower Center: Cooper Union stamp #457D
Study for "The Crescent Moon"
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1897
Black crayon and pastel on paper with gold border
Drawing

Two winged half-size figures and a cherub frame a central, circular compostiion.  In the center, a dancing woman is embraced by a child; figures, possibly children, to her left and right hold a tambourine and a triangle, respectively. Background framed by gold.
Fragment
, possibly 18th–19th century
cotton, silk Technique: double cloth

Style of the sixteenth century, but may be later. Band with animals, birds and person with bow and arrow.
Three Goats
Francesco Londonio, Italian, 1723 - 1783, 1758
Engraving on paper
Print

A goat stands on a rock and nibbles at a branch, another one lies upon the ground, and a third is seen at the left.
Bowl
, ca. 1820
Enameled tôle

Flat bottom, vertical sides. Black field, decorated in gilt, red, brown and green with Chinese scenes on outside of sides; on bottom, Chinese coolie carrying a yoke.
Franconia Notch from the Pemigewasset River near Grafton House
Daniel Huntington, American, 1816–1906, September 11, 1855
Graphite and white crayon on pale green paper
Drawing

Stream feeding river, center, running from right foreground. Trees beyond, pasture close to river; Notch, left center with mountains on both sides.
Trimming
, early 19th century
White, black, and colored silks in uncut velvet weave.

Crowned yellow shield with two goats in blue, on white ground.  Yellow and black checkerboard borders.
Studies of a Seated Nude
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper, pasted on board
Drawing

Shown are the greater part of the right arm with the hand, the left leg stretched out, and the upper part of the body with the right arm.
Blossoms of the Bromelia Pinguin, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Botanical sketch showing a detail of the blossoms of a bromelia pinguin plant. Several flowers dominate the composition at center, facing downward. Each flower has six petals beside their pistils.
Walking Woman
, 1725–50
Red chalk on brown paper
Drawing

Woman seen from the back; left arm is somewhat raised; the points of the feet are unexecuted.
The Blue Brougham
Constantin Guys, French, 1802 – 1892, ca. 1860
Pen and black ink, brush and watercolor on paper
Drawing

Horizontal rectangle. A blue brougham drawn by a chestnut-brown horse wearing a black harness with silver mountings. Coachman driving the carriage in black livery; gray-blue background.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design adorned with foliate scrolls, cornucopia, fruit, foliate branches, c-scrolls, festoons of leaves, birds, a portrait bust, women or mermaids morphing into scrolling leaves, rosettes, and shell motifs. The plate is signed and numbered.
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Brush and gouache on paper
Drawing

Bunch of flowers over a border, in which flowers alternate with a motif composed of binds and leaves.
Design for a Marble Throne for the Statue of St. Peter, St. Peter's, Rome
Luigi Vanvitelli, Italian, 1700 – 1773, 1754
Pen and brown ink, graphite on cream laid paper
Drawing

Design for a marble throne for the Statue of St. Peter at St. Peter's Basilica in Rome, Italy; full-face and profile view shown; throne upon a pedestal, the figure of St. Peter seated with right arm raised, halo. Scale indicated at the bottom.
Designs for Rocaille Ornament
J. Matthaeus Schmahl, German, active 18th century, mid- 18th century
Etching on off-white laid paper
Print

Rocaille ornament designs of rinceaux, scrolls, and branches for use in molding and frames. The plate is signed and numbered.
Monkey
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketches of a monkey.
Textile
, 1750
silk Technique: embroidered in couching stitch on satin weave

White satin with embroidery in three shades of blue chenille in a design of leaves and bowknots.
Towel
, 1794
cotton, linen Technique: cross stitch

Designs in style of Italian Renaissance, showing confronted lions, vases of flowers, addorsed birds, and conventionalized floral patterns arranged as cross borders. Edged, top and bottom with bobbin lace ornamented with red cotton dot.
Sheet with putti and studies after the antique
, 1800–1825
Graphite, pen and black ink on paper
Drawing

The sheet is covered in figural studies for putti, fantastical creatures, masks, and other decorative motifs.
Canapé et Lit de Repos à la Duchesse
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

A design for a sofa above and daybed below upholstered with floral motifs and drapery. The frames are carved with scrolling leaves, running patterns, and rosettes. A scale below. The plate is titled, numbered, and signed.
Standing Bedouin Figure
Frederic Edwin Church, American, 1826–1900, 1869-1870
Oil paint and graphite on brown paper; verso: black crayon
Drawing

Figure study of an individual outfitted in Bedouin clothing. The figure stands among classical ruins strewn upon the ground and leans against a column at left. He glares out of frame to the left. Although wearing the flowing headdress and draped clothing of the Bedouin people, this individual is actually Benjamin Bellows Grant Stone, Church's neighbor who he dressed up to serve as a model. In the background, whispy clouds stretch across a blue sky. 

Verso: Sketches of architectural forms in outline.
Self Portrait in a Velvet Cap with Plume
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1638
Etching on laid paper
Print

Half-length portrait of the artist, turned toward the right, the head facing the spectator, full-face. He wears a velvet cap with a plume, and an elaborate costume. His left arm is visible.
Cottage Scene
Charles Nicolas Ransonnette, French, 1793 - 1877, 1840
Graphite on tracing paper, mounted
Drawing

A half-timber house at right, in a clearing. Woods in background. Woman is seated near open door of house; a man stands before her.
Designs for a Necklace and Four Earrings
, early 19th century
Pen and ink, brush and red, olive, gray watercolor on wove paper
Drawing

Jewelry designs for a necklace and four earrings. In the upper row the earrings, numbered from left to right: No1, No2, No3, No4. Number 1 with a big golden oval ring, the front of which is covered by diamonds. Below it a circle with a pendant in it. Number 2 in pendant form with three compartments, each with a red diamond in the center. Belonging to it, also marked with No2 is the necklace formed by nine large and 20 small red diamonds. Number 3 with a bunch of grapes hanging below three diamonds. Each ring with two slopes. Number 4, large gold oval with seven diamonds along the front.
Lit à la Reine
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Design for a crown canopy (baldachin) bed with the crown supported by two headboard poles and a back panel. The crown is toped with feather corner finials and a central vase with flowers, and ornamented with a trophy featuring the three fleurs-de-lys of the French coat of arms. Hanging textiles and bed curtains tied back with flowers, pearls, passementeries, and tassels. The backboard is decorated in the center with the head of Apollo (Ancient Greek and Roman deity) encircled by sunrays and fleurs-de-lys. The headboard is carved with scrolling acanthus leaves, a festoon of laurel leaves, and cornucopia of fruit. The bed linen is floral with hanging swags of textiles tied with ribbon and tassels on the skirt, with a background of stripes and fleurs-de-lys. The bed posts are carved with fluting, masks (mascarons), and rosettes. A scale below the design. The plate is titled, numbered, and signed.
Design for a Decorative Burgonet
, early 17th century
Pen and ink, graphite on laid paper
Drawing

Vertical rectangle, lined border in pen and ink. Decorative visored helmet seen from the left in profile, the brim formed by the upper part of a fantastical animal's head. The body of the helmet is decorated with scenes of the hunt of a bull. At top, upon the comb, below the feathers, is a winged half-figure with fishtail legs. Curved ear flap, decorated with a trophy hanging from a mask.
Fountain Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Fountain design engaged with a wall, and has a basin held up by anguipeds and a an anguiped term under a projecting cartouche. The plate is signed and numbered.
Young Man Leaning Against Sailboat Rigging
Winslow Homer, American, 1836–1910, ca. 1875
Graphite on gray wove paper
Drawing

Vertical view of a young man leaning against the rigging of a sailboat.
A Sybil, with a Book
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

A woman sits at a table, her elbow on the table at left, resting on a book with "SIBILEA LIBIA" written on its spine. In her left hand she holds another book, open.
Botanical Sketches, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, May–October 1853
Graphite and oxidized white gouache on gray laid paper
Drawing

Botanical sketches from Colombia or Ecuador showing a plantain plant at left, a tree casting a dark shadow at upper right, and a large ceiba tree covered in vines at lower right.
Design for a Console Table
Giovanni Giardini, Italian, 1646 - 1721, 1700–1750
Pen and brown ink, graphite on off-white laid paper
Drawing

Elevation of a console table. Scrolling legs decorated with a crowned eagle.
Design for a Painted Ceiling
, ca. 1590
Pen and brown ink, brush and brown wash, over black chalk on off-white laid paper
Drawing

Design for a painted ceiling featuring two putti at left and right holding drapery that supports garland of fruit and leaves below. On ceiling, partially completed design for painting including figures, animals, and angels. Highly decorated with various options for patterns including a Greek key border.
Shoreline and Mountains near Bloxburgh, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing a view of the ocean and mountainous coastline near Bloxburgh, Jamaica. In foreground and middle distance, mountain ridges steeply descend into ravines as they slope toward the sea. In middle distance at left, the shoreline and ocean are visible. Throughout the composition, billowing clouds move across and above the mountains.
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 R and U, featuring flowers, leaves, and berries. The letters are topped with a crown of flowers. The plate is numbered, signed and hand colored.
Design for an Engraved Tazza with an Allegory of Charity
Theodor de Bry, Flemish, 1528 – 1598, ca. 1588
Engraving on laid paper
Print

Circular design for a footed dish (tazza), with a representation of Charity (Charitas) in the central medallion. Surrounding is a round band featuring representations of works of charity, including Christ washing the feet of the disciples; care of the wounded and sick; alms; Cimon chained and suckled by his daughter; distribution of food to the poor. Inscriptions in French and Low German.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and blue, lilac, and white gouache on glazed tracing paper pasted on paper
Drawing

A garland consisting of boughs with leaves and seeds over two rows of beads and a white stripe. Somewhat more than two repeats are shown. A small pencil circle, left top.
Fragment
, 16th–17th century
silk, metallic yarns Technique: satin weave

Two fragments seamed together down vertical center. Sprays of tulips and carnations in an ogival framework. In silver outlined with blue on a red ground.
Portrait of Carolus Celanus (Celani)
Albertus Clouwet, Dutch, active in Italy, 1636 - 1679, ca. 1675
Engraving on paper
Print

Half-length portrait of an elderly man seated. The sitter in three-quarter view to right.
Scotch Firs
Francis Seymour Haden, English, 1818–1910, 1882
Etching on paper
Print

Three scotch firs stand closely together. Below, a single sheep.