biglam/cooper-hewitt-alt-text huggingface dataset:
At the Fender
Wallace Nutting, American, 1861–1942, 1904
Hand-colored platinum print laid down on cream wove paper
Photograph

View shows an American colonial parlor with scenic wall-paper and white trim. Beside a blazing fire sits an elderly woman in colonial costume busy with her needlework.
Monument in honor of the soldiers, sailors and marines
Christian Francis Rosborg, 1881 – 1953, 1910–20
Pen and black ink, brush and wash on paper
Drawing

Cross section of a monument with large equestrian theme at the top. In upper margin: COMPETITION FOR A MONUMENT IN / HONOR OF THE SOLDIERS SAILORS AND / MARINES WHO SERVED IN THE WAR FOR / THE SUPRESSION OF THE REBELLION. Lower right: [1]96.
Christ Washing the Feet, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–1511
Woodcut on paper
Print

Interior, seen by candlelight. Christ, kneeling at left in the foreground, washes the feet of one of his disciples. Other disciples are in the background. Monogram of Dürer, lower right.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis format having a very geometric format. Square medallion centered in each grid with smaller square motif at each intersection. Printed in shades of blue and yellow with mica flourishes on off-white ground.
Apartments of Queen Elizabeth of Prussia, Charlottenburg Palace, Berlin
Elizabeth Pochhammer, German, active Berlin, 1864–1880, 1864
Brush and watercolor, white gouache, gold paint over graphite on thick white wove paper
Drawing

This view documents a portion of Queen Elisabeth Ludovika of Bavaria's (1801-1873) apartments: the library in the foreground, an adjacent study (left) and breakfast room (right), visible through two arched openings. The painted blue walls, decorated in gilded boiserie in the Rococo revival style, terminate in an upper frieze band in palmette design. Above, the ceiling's gilded stucco decoration is based on a swirling acanthus leaf motif.

The focal point of the library, incorporating elements of the baroque and rococo periods, is a pier table in the Baroque style placed beneath a tall pier mirror in the Neo-Regency style. A hanging lamp is reflected in the mirror. A display of Charlottenburg's famous oriental porcelains, a blue glass flask, and a clock adorns the table. Additionally, oriental porcelains are grouped on either side of the library mirror and in front of the pier table. A Neo-Gothic cabinet is on the left; a Neo-Gothic white porcelain stove with classical elements, partly hidden by a folding fire screen on the right.

In the study and breakfast rooms, visible though two arched openings on either side of the pier table, are arrangements of seat furniture with painted white Neo-Baroque frames upholstered in a red and white floral designs and tables in the Rococo Revival style. Visible at the rear on the right, a portion of window drapery in red and gold damask with a deep scalloped pelmet echoes the floral red Rococo Revival carpet. In the far corner to the right of the window, a sculpture of two winged angels is on the wall. The metal rod suspended in the two arched openings allowed portiere draperies to close off the study and breakfast rooms for privacy.
Study for Maximum Mass Permitted by the 1916 New York Zoning Law, Stage 1
Hugh Ferriss, American, 1889–1962, 1922
Black crayon, stumped; brush and black ink over photostat, varnish on illustration board
Drawing

A back lit, dramatic dark sculptural form, rectangular at base tapering into points surrounding a tall central shaft.
thread spool
, ca. 1880–1900
wood

Tartanware
Table cover
, 18th century
linen Technique: plain weave with wrapping stitch embroidery and drawn work; bobbin braid attached.

Rectangular linen table cover dominated by a complex border combining drawn work and embroidery. Side borders of drawn work in orange with blue trim in a continuous vine design. End borders are wider with drawn work in blue and orange rosette in a diamond lattice. Outer edge is trimmed with a continuous randa of linen bobbin lace in white, blue, and orange.
Sidewall
, ca. 1879
Machine-printed

Aesthetic-style paper with leaves and trellis.
Three 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

Three of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Textile
, mid-19th century
linen warp, silk weft Technique: damask weave

Green satin with design in white. In the central scene, a stag is pursued by hounds amid foliage; in the corners, mounted riders with hounds; foliage borders. Edged with narrow silver galloons.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Mosaic and beading lattice pattern with metallic rose and stylized ribbon centers over a bacground of a large dot grid. Printed on pink-beige ground in tan-beige, white liquid mica and gold liquid mica. Printed in selvedge: "York Card & Paper Co."
Abstract Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Curved lines and tiny spots overlap each other to create this abstract and playful motif. Silk threads support this mostly negative spaced stencil.
Fragment
, 18th or 19th century
wool Technique: felted and stenciled

Rectangle of cream colored felt, printed in blue and red in two square designs of clouds, zigzags of lightening (?) and wild-haired man. Each design outlined by a band of blue dots.
Embroidered picture
, 17th century
silk and metal-wrapped silk embroidery on linen foundation with pearls, metal, mica, cotton tapes Technique: embroidered in rococo, satin, tent, half-cross, romanian, wrapping, and looping (needle lace) stitches with applique on plain weave foundation

The story of Hagar with figures of Hagar and Ishmael both appearing twice, Abraham, Sarah, and Isaac once.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

White mica moire on a thin white mottled ground. 
Printed in selvedge: "Janeway & Co. Inc." "2935"
Border
, 1840–45
Block printed on continuous paper, polished ground

Vertical series of upside down heart-shaped medallions, brown and bright green, alternating with white foliate and scroll motif. To right and left, vertical moldings bound at intervals with a leaf. Printed in colors on polished or satin ground.
Coutance and Mont St. Michel
Arnold William Brunner, American, 1857–1925, 1883
Graphite, brush with blue wash and white heightening on blue-gray paper
Drawing

Two sketches, large house-wall with turret among trees, left. Stairway and round buttress, right.
Textile
, 19th century
cotton Technique: stenciled resist on plain weave (katazome)

Pattern of two large and two small flowers with leaves and curving stems in reserve on a dark blue ground with fine dots.
Frieze
A.M.P. & C.M. of U.S., 1905–1915
Machine-printed paper, liquid mica

Large-scale foliate medallions, each containing a fleur-de-lis. Pritned in tan, green and off-white on a background that is light tan on top half and darker tan on bottom half.
Five of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Five of Hearts playing card from a pack of transformation playing cards. Vertically, a figural scene in outline. At center, a figure of a street performer holding a music box and a monkey on a leash wearing a hat and holding a sword. At top, a man holding a basket. At bottom, a woman in a long dress holding the hand of a child. Red hearts integrated into the torsos of the figures.
Bowl
, ca. 1810–30
Glass

Round body on short foot, 2 fan shaped handles extending up from scalloped lip; body cut with design of verticle sections each with oval panel of small diamonds, thin vertical fluting around lip, rayed flutes on handles; cutting very sharp.
The Washington
Robert Graves Co., New York, New York, 1905–1915
Machine printed paper, mica flakes
Frieze

Flitter frieze with design of leafy swags with large roses and rosebuds. The top and bottom edges have a narrow stripe as the border. Printed in pinks, greens, tan and gold mica flakes on a background that shades from deep pink to a lighter shade of pink.
Caduceus-form
Fortunato Pio Castellani & Sons, Italy, founded 1815, ca. 1875
Cast and granulated gold, carved ivory
Hair ornament

Hair ornament in the form a caduceus (wand of the god Mercury), with two winged, entwined dragon heads in gold on a tapering ivory shaft.
Embroidered picture
, 19th century
silk, metal, glass beads, pearls, hair, and cotton on silk foundation Technique: embroidered in couching,stem, chain, and feather stitches with applique of knitted, woven fabric and needle-made lace on 7/1 satin foundation

A copy of a 17th century raised work picture of King Charles I and Queen Catherine of Braganza.  Picture is meant to look like a 17th century picture (N.B. 1649 date).
Joseph Andrews
William Byrne, English, 1743 - 1805, 1781
Engraving on paper
Print

The Inn scene, from Fielding's novel, showing four figures at the door to a country inn. A covered wagon in the distance.
Design for an Organ Loft
Giuseppe Barberi, Italian, 1746–1809, ca. 1820
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Situated in a huge niche, with a coffered conch above the entablature. Below are eleven columns in a segment supporting seemingly an entablature with ornamented frieze. Above it rise two similar ones, one somewhat shorter than the other. The central one is decorated with festoons, the upper one indistinctly. Above the central part  of the upper one rises what is seemingly a frieze. Upon it stands the pipe case, in shape of a canopy.
Decorative door boss and nail
, 17th century
Wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Each petal has a pointed tip and central boss, the surface marked with radiating pocks. Round nail head on square shank.
Elevation of a Saltcellar
, 1530–60
Pen and ink on paper
Drawing

Horizontal rectangle. Two winged mermaids are seated upon a round base and are attached to the shaft. The body of the bowl is bossed and shows a satyr mask in the center. Mouldings are on top. Two snakes form the handles. The supports are not entirely shown.
Window Case
Filippo Marchionni, Italian, 1732–1805, 1740–70
Pen and ink, brush and gray watercolor on laid paper
Drawing

Window case with a broken pediment; the attic of the central part has an opening.
Panel Design
Jean Le Pautre, French, 1618–1682, ca. 1651
Etching on laid paper
Print

Frontispiece with the publisher's address and artist lettered in a central roundel cartouche framed by a festoon of laurel leaves, flanked by two female figures. Above a plinth with a classical portrait bust and more leaves. The central roundel is within a garden wall, with balustrades, sculptures, and figures. Trees and clouds in the background. The scene is framed.
Horse Sketches
Frederic Edwin Church, American, 1826–1900, 1844 - 1845
Graphite on white wove paper
Drawing

Figure sketches showing isolated parts of a horse's body. At center and shaded in detail, a horse's leg is shown in left profile. At upper left, the side of a horse's head and ear are visible. At right, the snout, ear, bent knee, and forehead of the horse are also rendered in minimal detail. At far right, the outline of possibly a sleeping pig is shown.
Two Birds in Foliage with Seed Pods
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Two birds alight upon an oak plant.
Damascus, Syria
Frederic Edwin Church, American, 1826–1900, April 29 and May 2, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch overlooking the city of Damascus, Syria, and the valley it occupies. In foreground, a road with cobblestones descends toward the valley, with a sloping ridge on either side. A flat plain extends through the middle distance, where the city and its buildings are visible. In the background, tall, rugged mountains hem in the valley.

Verso: Architectural sketch of the facade of a house on the bank of a canal in Damascus, Syria. House characterized by exterior staircase and mixed design approaches in upper story.
Une Mare (Environs de Rossilon)
Adolphe Appian, French, 1818 - 1898, 1867
Etching on cream paper
Print

A crane stands at the edge of a small pond bordered by thinly leaved trees.
Trees, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, August–September 1851
Graphite on light brown wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a group of trees in the woods of Grand Manan Island in Canada. In the foreground at left, two birch trees and one beech are grouped together with a dead spruce tree. The trunk of another tall tree is included at right. Open space extends into the middle distance at center, where another birch tree is visible. Other trees and dense foliage are loosely rendered around it.

Verso: Loosely rendered landscape sketch of a coastal mountain or cliff on Grand Manan Island in Canada. At center, the pyramidal, ridged form of the mountain dominates the composition with other rugged cliffs extend into the distance at right. In the middle distance at lower center, a diminutive sailboat is dwarfed by the mountain as it sails past the craggy natural feature.
Embroidery sample
, late 18th–early 19th century
silk embroidery on silk foundation Technique: embroidered on a voided supplementary warp pile (velvet)

Embroidered sample for men's silk waistcoats, with design of loose sprigs of wildflowers on a vertically ribbed dark brown ground.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. The usual scheme with a disk above and three drops below. In the center, two cornucopia-like frames of ribbons with a flower stem above a row of disks. Bevelled corners.
Stage Design, Square with Public Building
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. View of public square. Ogival portico in the foreground, building supported by columns and decorated with sculptures in background.
Fragment
, 14th century
silk, metallic (beaten gold on vellum wrapped around white silk core) Technique: 2 integrated structures (lampas)

Arranged in horizontal rows, a lion with a peacock tail attacking a gazelle, and a phoenix attacking a smaller bird, in gold metallic thread. The ground is a fine herringbone twill with small ivy vines, in gold on green with blue blossoms.
Figure Sketches and a Cart, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on white wove paper; verso: graphite
Drawing

Figure sketches shownig six partial and complete figures in Switzerland viewed from behind. Unclear who is man, woman, or child. Most are adorned in pointed hats and tall socks. A laden wagon is visible at center. 

Verso: Figures sketches showing four individuals--likely children--in various outfits, one with a pointed hat and another with a wig. At center right, three pieces of laundry hang on a clothesline.
Fragment
, 400–100 BC
cotton Technique: plain weave foundation with gauze weave

Fragment of a red cotton shawl or mantle in which a geometrical design is executed in an open work or lace effect.
Böttger Stoneware Tankard
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1715
stoneware, silver, gold
tankard

Cylindrical, slightly tapering toward top. Flat domed cover with simple button knob, held by ring mounting and hinge on shoulder of curving flat strap handle. Mount on foot, with triangular tongues holding the base of the tankard. Exterior of tankard, and both surfaces of cover, polished. Tankard engraved on face with interlacing cipher in framework of scrolls, under a crown.
Title Page
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Title page and design for two rectangular decorative panels, a larger one in the center and a narrow one to the right. The panels feature arabesque motifs including festoons of flowers, leaves, grapes, baskets, fruit, oval medallion, cornucopia, scrolling acanthus leaves, and baskets of fruit.  The plate is titled and numbered.
Textile
, 19th century
silk, metal Technique: compound satin

Dark blue satin ground with small-scale, all-over repeat of scrolling vine with five-petalled flowers, in gold. Fragment cut on bias, edges turned over, as if for collar. Starched or stiffened on back.
Bandbox
, ca. 1840
Block-printed on paper, pasteboard support

Blue field, printed in white, green and brown. On box, baskets of flowers and fruit, and groups of figures. On cover, portion of picture of Clayton's Ascent and portion of picture of a boat attacked by a sea-serpent.
Decorative panel
, 1850–60
Block printed and hand painted on a combed background

Vertical rectangle. Simulation of elaborately carved oval wood frame, brought to the rectangle by simulated surface of graining. Enclosed in the frame is a painted representation of foliage and two deer.
Woman Playing a Mandolin
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Bound print

A chinoiserie-style print from a series of allegorical representations of the twelve months of the year, depicting May. A woman stands in the middle of a garden landscape, playing a rectangular mandolin. There are large trees and arches in the background. Trees, plants and rococo-style acanthus leaves frame the scene. The plate is signed and numbered.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1822
Cast bronze
Medal

Bust of Gaspard Monge, Comte de Péluse (1746 - 1818), to the left.
Ceiling medallion
, 1850–60
Block-printed on machine-made paper

Large circular medallion. Center portion is putto in grisaille with a puttowith spread wings and floating drapery. He has a spray of leaves held in his outstretched arms. The medallion is encircled with a flower wreath in natural colors. Both double and single roses are used. This wreath is on anoyster-white field edged with a small circular border printed in tones of violet.
Decoration for the marriage of Prince Paluzzo Altieri
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Three ovoidal portraits are intended to hang in front of a curtain. Pope Pius is shown, above. Below is a festoon of a cord with two frames hanging on its ends. Colored background. An account is written, at left.
Buttercups, Mt. Desert
Samuel Colman, American, 1832–1920, July 9, 1877
Brush and watercolor, pen and brown ink, graphite on cream paper
Drawing

Studies of buttercup flowers, right. Left, plant in seed.
Sunrise over the Atlantic, East Hampton, New York
Frederic Edwin Church, American, 1826–1900, July 1858
Graphite on off-white wove paper
drawing

Landscape sketch showing a view of the sunrise over the Atlantic Ocean, as seen from the coast of Long Island at East Hampton, New York. In the foreground, breaking waves crash and recede on the nearby sandy beach. At center, the low sun casts a luminous glow in the atmosphere around it as it rises from behind a flat, oceanic horizon. Hazy atmosphere or clouds are visible in the sky surrounding the sun.
Dead Tree Trunk, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, 1877
Graphite on tan wove paper
Drawing

Botanical sketch showing a loosely-rendered view of the trunk and lower boughs of a dead tree near Lake Millinocket in Maine. Roughly following the leaf's central vertical axis, the tree has numerous sharp, twisting, and broken branches devoid of leaves.
Ornamented Fence Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Three ornamented fence designs. The plate is signed and numbered.
Mt. Katahdin from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, 1852 or 1877 - 1878
Oil and graphite on paperboard
Drawing

Partially finished landscape study showing a view of Mt. Katahdin from the eastern shore of Katahdin Lake. In the foreground, nearby rocks and logs are rendered in graphite and partially submerged in the lake's water, which extends to the heavily wooded opposite shoreline in the middle distance. Katahdin's pyramidal peak--colored a pinkish-peach by the light of the setting sun--looms over the surrounding landscape in the background at center. The mountain's ridge extends out of frame to the right. Above, a grey, purple, and lavender cloud bank dominates the twilight sky.
Plan Elévation et Profil d'un Sopha
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a sofa with the profile and plan. The sofa is decorated with striped textile and with carved ornament motifs including fluting, rosette, and bound leaf. The plate is signed and numbered.
Königssee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 1868
Oil and graphite on tan paperboard
Drawing

Landscape study showing a view from an elevated perspective of the Königssee in Bavaria, in present day Germany. In the immediate foreground, the top of a conifer tree is visible at left. Below, the emerald-blue waters of the lake extend into the middle distance and curve around a sheer mountainside at right that meets the water at a nearly perpendicular angle. Its wooded slopes ascend out of the frame at upper right. At left, a steep wooded mountain ridge forms the lake's opposite shoreline, creating a narrow channel at center. Two relatively miniscule row boats are visible on the water's surface at center and lower right. In the background, a rocky, snowy alpine massif backdrops the scene. Above, puffy clouds hang in an otherwise blue sky.
Elevation of a wall with a soloist singing
, ca. 1790
Pencil and ink on paper
Drawing

Vertical composition of a wall with a soloist singing over a balcony. Five figures are below the balcony.
Design for a Chalice
, 1710–1740
Black chalk, pen and ink, brush and wash on paper
Drawing

Elevation of a chalice. Love and Faith sit upon the foot. An escutcheon is shown between them. A bust of an angel above it. Temperance with a pitcher and a bowl is shown seated in a niche in the middle of the shaft. An escutcheon supported by two seated angels and cherubim over festoons is shown in the lower part of the cup.
Sunset over the Hudson River Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 1867
Graphite on gray-green paper
Drawing

Landscape sketch showing a view of cloud at sunset over the Hudson River Valley, as seen from a point on or near the artist's property in Hudson, New York. Gently sloping terrain stretches across the foreground and hosts several loosely rendered trees, though which the sunset scene is visible. In the sky above and beyond these trees, the long, undulating form of a large cloud bank extends across the sky. Layers of other puffy and wispy clouds are variously illuminated in the sky above.
Village on Mt. Salus, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Architecture and landscape sketch showing a view of four rectangular huts with masonry walls and wood-shingled roofs in a Jamaican village near Mt. Salus. One hut, characterized by its pyramidal roof, serves as focus in center of composition. Two similar structures are included beside it at left, and the roof of another behind it at right. In background, trees and blue sky are visible, while grass and other greenery visible in foreground.
Design for an Embroidery or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1810
Brush and light blue and white gouache on glazed tracing paper, laid down on paper
Drawing

A Doric column, memorial for a soldier, rises between two cornucopias. A beehive and a rooster flank the pedestal of the column.