biglam/cooper-hewitt-alt-text huggingface dataset:
Elevation of an Altar Mensa
, 1720–50
Pen and ink on paper
Drawing

Horizontal format. Above and below are mouldings. The field is divided into strips. In the upper one stand four escutcheons; the lateral apses in which Evangelists sit, St. Mark being one of them, are not entirely shown. In the lower strip are three escutcheons, the points of which are in the upper strip. Represented in the center one: the Annunciation. At left: King David or Solomon; at right, probably Moses with the tablets. Angels sit upon the lower lateral scrolls of the central escutcheons, others carrying festoons fly beside it. Below the escutcheons stand small ones, with the sun and star, and the moon, respectively. In the lower strip, at the corners of the mensa, are suggested at left: volutes with half-figures of angels as caryatids of the upper escutcheons. At right: volute balusters with cherubim on top.
Pedestal Designs
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Ten pedestal (plinth) designs (half views) featuring rococo motifs - masks (mascarons), shells, scrolling leaves (rinceaux), rosettes, fluting, acanthus leaves, gadrooning, festoons of flowers, and cornucopia. The lower right pedestal supports a classical sculpture bust of a man, and the lower left pedestal supports a vase. The plate is numbered and signed.
Sugar Bowl
Alcora Ceramic Factory, Spanish, 1727 – 1858, ca. 1740
Tin-glazed earthenware
sugar bowl

Elliptical, with shaped sides and flat domed cover with flat crown-shaped handle. Divided into one large and two small compartments. Decorated with floral sprays and insects. On three feet, attached to body with metal armatures.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-20: Part of a set of Italian Minchiate playing cards.50
Mountain Peak, Mexico
Frederic Edwin Church, American, 1826–1900, February 27, 1892
Graphite on tan wove paper
Drawing

Landscape sketch showing the summit of an immense mountain in Mexico. Viewed across indistinct terrain with vegetation in the middle distance at center, the conical mountain rises in the background with a sharp summit and slopes dotted with trees.
Hilltop View with a Structure
Frederic Edwin Church, American, 1826–1900, 1850–65
Graphite on white laid paper
Drawing

Landscape sketch showing the view from the top of a hill with a structure. The foreground is comprised of the surface of the nearby hill, while an octagonal structure--possibly some kind of tower or a memorial--rises out of view at upper right. Its near side is shaded. At left, nearby treetops are visible above a dark and rolling landscape that comprises the middle distance and background. Bands of puffy, shaded clouds float in the sky just above the horizon. At lower center, an isolated view of a billowing cloud is included.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

Tall, spouted, ovoid vase. The neck of the vase has spiral fluting on it, which terminates in a lip that spills over like a wave. A nude male youth figure stands at the front of the vase looking up and with arms raised toward the spout. Two twisted snakes form the handles of the vase, and their tails are intertwined at the boys' feet. Between their coils is also a grotesque mask. The foot of the vase is fluted, and the vase is elevated on a low, simple, square pedestal. The plate is lettered and numbered.
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, July 1845
Graphite on white wove paper; verso: graphite
Drawing

Atmosphere sketch showing a close view of an individual cloud. Generally puffy and billowing, the cloud is marked by patches of shadow.

Verso: Landscape sketch showing two evergreen trees in the woods in or near Catskill, New York. Shown at center, they grow diagonally in different directions, greating a "V" in the center of the composition. Behind them at left and right, trees and other vegetation are loosely rendered.
Self Portrait as a Cavalier
Léopold Flameng, French, 1831 - 1911, ca. 1870
Etching on China paper, pasted down
Print

The artist is shown standing three-quarter length, standing, turned slightly to the right, his hand resting on his sword.
Hudson Valley Landscape
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Landscape sketch showing a loosely rendered view of the Hudson Valley at sunset. A lush hillside descends in the foreground at lower left and frames a view of an expansive green valley in the middle distance. Two ranges of purple mountains backdrop the scene beneath tumultuous purple and gray clouds in a blue-green sky. These ranges are possibly the Catskill Escarpment and nearby hills.
Alpine Lake
Frederic Edwin Church, American, 1826–1900, June - August, 1868
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of a lake and its wooded shoreline, likely in the Bavarian or Bernese Alps. In the foreground, a grassy bank is shown at left while submerged rocks are visible just beneath the surface of the lake. The water extends from the foreground to the middle distance, where a curving, wooded shoreline hems in the like. In the background, a forest is loosely rendered in shades of green and brown.
Fragment
, 14th century
silk, metal wrapped linen Technique: two integrated fabric structures (plain weave plus plain weave)

Repeating pattern of a vase with pseudo-Arabic writing flanked by addorsed parrots above affronted monsters. Gold, orange and green on purple.
American Falls Under a Cloudy Sky, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, 1856 or 1858
Graphite on gray-green wove paper; verso: graphite and oxidized white gouache
Drawing

Landscape sketch showing a view of the American Falls and Goat Island from the American side of the Niagara River. The undulating edge of the falls extends from the foreground to the middle distance, where it encounters Goat Island and its abundant vegetation--visible at center and left. In the foreground at left, a tree and other foliage is shown.

Verso: Landscape sketch showing a distant view of Horseshoe Falls, the wooded banks of the Niagara River beyond, and a cloudy sky above, as seen from the American bank of the Niagara River. At center left, the Terrapin Tower is visible at the edge of the falls, while the waters of the Niagara River extend to wooded banks behind it. A mixture of puffy, billowing clouds are variously lit in the sky above.
Cartel décoré pour la Poësie
Pierre-Gabriel Berthault, French, 1737–1831, ca. 1758
Etching and engraving on laid paper
Print

Design of a rocaille frame with scrolls, flowers, and attributes of poetry, including a mascaron with a winged helmet, a book, a quill, masks, and musical instruments. The plate is signed and numbered.
Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, ca. 1767
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace and overmantel mirror) illustrated as a detailed wall elevation. The design features rococo ornament, c-scrolls, scrolling leaves (rinceaux), foliage, gadrooning, scale pattern, wing, flowers, sprigs, festoons of flowers intertwined around the overmantel frame, and a clasp above in the shape of a rocaille asymmetrical cartouche. Two-candled wall sconces flank the mirror. The wall paneling (boiserie) on either side features ornately molded upper clasps in the shape of shells and other motifs, with plain molded frames - long horizontal panels and dado level below. Below the design is a plan view of the mantel and the marble front hearth design, and a scale. The plate is numbered and signed.
Table de Jeu avec Damier; Grande Table de Jeu, avec Trictrac en dedans
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two game tables, both with thin, curved, tapered legs. The table on the left features a checkerboard top; the table at the right, a trictrac, or backgammon, board. The plate is signed and numbered.
Canyon of the Rio Virgin, South Utah
Thomas Moran, American, b. Britain, 1837–1926, 1873
Recto: Brush and watercolor, graphite on white wove paper Verso: Graphite on paper
Drawing

A group on horseback is crossing a low point of the river in center foreground, while tall white cliffs rise at left. In the distance, a low rise of rock outcroppings in mauve tones is silhouetted against a backdrop of ivory colored peaks under a heavy blue sky. 
Verso: Sketches of three small objects in graphite.
Border
, 19th century
linen Technique: bobbin lace

Deep border of bobbin lace has a repeating wheel pattern in the scallops and upper border.
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for a lidded vase decorated with intertwined snakes. The plate is numbered.
Panel fragment
, 1550–1600
cotton on linen Technique: couching for linear outlines and dense areas, chevron stitch on parallel straight stitches, buttonhole filling in the manner of simple looping, an interlaced combination of buttonhole or looped stitches, chain and ladder chain, herringbone stitches on plain weave

Design of foliated scrolls and roundels with the symbols of the four apostles. One roundel shows a lion and the words: "Sant Mark." Two other roundels (incomplete) show portions of the Eagle (St. Mathew) and Ox (St. Luke). A very small part of a brown and white fringe remains at the bottom.
The Year's End
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

7 in a series of 10 plates
Tile from a Mihrab (Prayer Niche)
, 13th century
Siliceous-glazed earthenware
Tile

Square fragment. Blue, with three planes of raised ornament consisting of Kufic and Neskhi characters and a scrolled stem with fruit, outlined with light reddish brown. Painted over-all pattern of delicate scrolls in pinkish white.
Trimming
, 18th century
flat strips of gold metallic foil, gold metallic foil wound onto yellow silk Technique: bobbin lace, metallic

Metallic gold lace in repeated zigzag pattern set in bands and alternating with narrow stripes.
Ornament
, 1850–99
Walnut

A, B) gilded and lacking stem. (C) blue, (D) aqua, (E) red, all with stem. (F) yellow, with stem.
Trimming
, 18th century
silk Technique: woven

Design of a simple, unadorned center with saw tooth borders. In pink on yellow ground.
Fringe
, 16th century
silk Technique: woven

Blue-green fringe with a plain-woven heading and a skirt of green silk thread.
Fork with Detachable Spoon
, 19th century
silver
fork, spoon

A) Straight flat stem with cross-banding and plumed bust, and a man pouring tea. hinged to it, beneath a mask, a two-pronged fork. B) Circular bowl with two loops on back.
Fragment
, 19th century
linen Technique: bobbin lace appliquéd to net

Fragment of Brussels-style lace showing a large-scale design of a floral group, including a rose and lily.
Rendering of Interior, St. John's Church, Utica, NY
Leon Dabo, American, 1868–1960, ca. 1902
Brush and watercolor, gouache, graphite on paper
Drawing

View looking toward altar, set in a vaulted apse with seven stained glass windows.
Fragment
, 17th century
silk and metallic thread Technique: compound satin weave with discontinuous supplementary weft (brocaded)

Ground divided into modified lozenges enclosing abstract floral forms. In white, gold, and silver.
Portrait
, late 18th–early 19th century
silk Technique: warp-printed velvet

Portrait of Luise Auguste Wilhelmine Amalie, Queen of Prussia (1776-1810) in velvet.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

A symmetrical design composed of a large central cross flanked by pairs of lighted candles, and interlacing bands.
Stage Design: Hall in a Palace
Ferdinando Galli Bibiena, 1657 – 1743, 1725–50
Pen and brown ink, over black chalk on white laid paper
Drawing

Horizontal format. Visible are two aisles, rectangulary disposed to each other. At the back wall at right is a looking glass hanging above a console table with three vases. The room at left has vases in niches. On the reverse is a part of a geometrical perspective construction.
Ornament, christmas tree
, late 19th century
Sugar

Two rings connected with two points, decorated with green sugar dots.
Wood Engraving. Vignette.
, 1800–1830
Engraving and etching

Classical helmet.
Fringe
, 16th century
silk Technique: woven

Pink fringe with a plain-woven heading and thread skirt.
Textile
, late 18th century
silk Technique: woven, moire

Two lengths of blue moire with selvages in pink and yellow.
Sketch of Charity, Faith, and Hope
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Graphite on brown paper
Drawing

Charity holds a baby in her lap, an angel kneels beside her. Faith gazes at the Cross she holds on her left knee. Hope, winged and holding the shaft of an anchor, stands in the center.
Cane
Henry Rado, American, 1859–1921, ca. 1890
wood, silver-gilt

Tapering brown stick with hammered silver head, decorated with parcel-gilt repoussé figures in the Japanese manner, and a dragon fly. Signed R F S & Co., STERLING
Fragment
, 1750–99
silk Technique: 8-harness satin patterned by floats of alternate wefts

Fragment of woven fabric. Offset rows of a flowering plant or bulb on a dish [alternate rows counterfaced] in multi-colors on a green-yellow background.
Pitcher
, 19th century
glass

Clear glass pitcher
Bowl
, 19th century
glass

Dark purple and white glass bowl
Plate Illustrating Standard Rubble Concrete Blocks (“Moellons Standard en Agglomérés”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing construction.
Saint Cecilia
Marc Antonio Raimondi, Italian, 1483 – 1527, 1515–1516
Engraving on paper
Print

Five standing figures. St. Cecilia, center, is surrounded by St. Madeleine at right, St. Paul, left, behind her, St. Augustin and St. John. Musical angels on clouds above the figures.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1780
cotton Technique: printed by engraved plate on plain weave

Scenes include figures dressed in feathered turbans resting beneath an elaborate tree while a standing woman holds a captive falcon in her hand. A reclining gentleman on the opposite side recoils as dog fetches an eel from the water as a gentleman with a walking stick points toward the dog. Printed in red on a white ground.
Dining Room, Hôtel Guimard, rue Mozart, Paris, France
Hector Guimard, French, 1867–1942, ca. 1910
Platinum print
Photograph

Photograph of the dining room of Hector Guimard's house at 22 rue Mozart. Photograph depicts chairs on the left side, and a table on the right. Cabinets behind the table.
Figures Chinoises
Antoine Watteau, French, 1684–1721, 1731
Album

Album of twelve prints depicting individual Chinese figures in landscapes. The plates are titled, signed, and numbered.
Study of a Man's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man's head and shoulders. The man faces the viewer with his head turned slightly to the left. He wears a large hat with a bow and his hair is long. He has something in his mouth, possibly the outline of a pipe or a flute. His shirt has the outlined of a long collar. The plate is numbered and signed.
Fragment
, 14th–15th century
cotton Technique: printed on plain weave

Natural coarse plain cloth ground with all-over print of small rosettes in red.
Ribbon
, late 19th century
silk, cotton Technique: plain weave

Red ribbon with self-color leaf and fret design.
Design for Serving Rack with Three Shelves (Front and Side elevations)
A.N. Davenport Co., 1900–05
Pen and dark brown ink on thin, cream paper
Drawing

Side elevation of serving rack at left; each shelf supported by curvolinear brackets.  Front elevation of rack is at right.   On front elevation, atop top shelf are punch bowl and six glasses; stack of plates rests on middle shelf; serving dishes are on bottom shelf.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto continues the general description of the festivities held on February 23, 1745 in honor of the wedding of Louis Dauphin and Maria Teresa of Spain, and outlines the symbolic meaning of the six temporary halls erected across Paris for the celebrations. The verso continues this description and begins a focused section on the "Wedding Temple" (Le Temple de l'Hymen) set up in the Place Dauphine.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1811
paper, cotton, silk Technique: (samples) printed plain weave; warp-face 3/1 twill with weft patterning; warp-face 3/1 twill with weft patterning

Component "j" is a page from Ackermann's Repository, March 1811. Page contains printed graphics and three textile swatches: two woven and one printed.
Textile
, 1865
cotton Technique: printed by engraved roller on plain weave

Commemorative fabric celebrating the race horse, Gladiateur who won both the Epsom and the Grand Prix in 1865. These facts and the horse's lineage is on the fabric. In red on white.
Design for Oval Dining Table "B" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oval molded table top raised on 5 columnar supports sitting atop rectangular molded base terminating in reeded splayed legs on brass feet with casters; carved water leaf atop each foot.
Album of Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, late 17th century
Album

An album of ornament designs by Berain with arabesques and grotesques motifs and heraldry.
Textile
, 1800–1850
cotton Technique: printed by engraved roller on plain weave

Four scenes illustrating early loves of Henri IV.
No captions on the scenes. In red on white.
Jug
Olérys-Laugier Factory, France, founded 1738, ca 1750
Tin-glazed earthenware; pewter mount

Jug with pewter mount and hinge-thumbpiece; lid broken and repaired; infilled chips throughout.
Button with Painted Lady Holding a Dove
, late 18th century
porcelain, copper, glass, tin
button

Button showing a female figure in costume of late 18th century; covered with glass; mounted in copper rim; back with tin.

On card 69
Frieze
Liberty Paper & Bag Co., 1900
Machine-printed

Large and small conventionalized poppy motif, alternating with large leaves and small flowers and twigs between. Browns and green on gold, slightly embossed ground, imitating tooled leather.
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Roses and anemones in polychrome on an off-white ground.
Sampler
, 1782
silk embroidery on linen foundation Technique: embroidered in cross stitches on plain weave foundation

Motifs at top, alphabets at bottom; originally probably part of a larger sampler.
Au Bords de la Riviere
, 1795
Block printed on joined sheets
Scenic panels

Large central circular colonade next to a triumphal arch. To the right, a bridge with figural sculptutes over waterfall. To the left, a female seated on park bench speaking with a gentleman, a male statue on pedestal, and a smaller bridge crossing a stream.
Textile
, ca. 1800
cotton Techinque: printed by engraved copper plate on plain weave

Pastoral scenes including man and woman watching children play with a dog, two women, a man and a goat suckling a baby, a couple playing backgammon, and a family group in an arbor. Printed in red on a white ground.
Design for a Wrought Iron Light Fixture
Anna M. de Pool, 1894
Pen and ink, watercolor on Bristol board. Red seals.
Drawing

Vertical rectangle. A lamp fixture, suspended from a wall bracket.
Ornament Design, Two Panels and Urn with Vulcan
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, 1776
Pen and ink, brush and watercolor over graphite on laid paper
Drawing

At center: lidded bronze burial urn within a circle,  framed by a pale green rectangular field. The urn features an image of Vulcan, seated, with tools. Ornament panels above and below. The upper design, featuring a pattern of alternating palmettes and inverted calyces, is in white against a background of blue. The lower, with an enclosed anthemium pattern, is in white against a background of purple. The urn is adapted from an image in Bernard de Montfaucon's "L'antiquité expliquée, et représentée en figures" (1719-24).
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a partial plate decorated at the gold rim with light blue ovals, the border has a colored bird, pink and purple roses with green leaves, and a butterfly; the well is decorated with roses and a butterfly. Unfinished design in graphite at lower right.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

White mica lag and feather wreaths with either small floral bouquets or yellow lag and feather diamonds in center. Between wreaths is a simplified floral motif. Beige ground. Printed in pinks, red, green, yellow and white mica. Printed in selvedge: "Standard Papers".
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper, liquid mica

On tan ground, treillage composed of rinceaux with small purple flowers, with rhombus white rinceaux containing white flower clusters.
Sidewall
, 1875–1906
Block printed on continuous paper

Moorish-style design. Printed in burgundy and gold on mauve ground. Printed in selvedge: "701 BB".
Sidewall
, 1870–90
Machine-printed

Anglo-Japanesque design. Very stylized floral motifs, in blue and burgundy, with green leaves and acanthus scrolls. Composed of very geometric ornaments in very random arrangement.
Bracelet
, ca. 1830
Dyed horsehair

A red colored bracelet made of weaved balls, with a centered flower, dangling two teardrop shapes at the end. Part of a set.
On the Beach at Long Branch – The Children's Hour
Winslow Homer, American, 1836–1910, August 15, 1874
Wood engraving in black ink on paper
Print

Nurses and children on the beach.  In the left foreground, a young mother appears to be saying goodbye to her children in order to join a group of women, seated in the background.  The children are being left under the supervision of the nanny and maid.
Frieze
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Alternating large and small foliate medallions. Inside of medallion is printed in mica. Lower two-thirds of background is striped. Scrolling guilloche-like pattern across bottom edge, below narrow mica band.
Sidewall
, 1905–1915
Machine-printed paper

Staggered medallions on textured purple ground. Medallions composed of scroll gold frames containing concentric shapes in green, cream, and burgundy filled with an acanthus leaf motif.
Sidewall
, ca. 1850
Block-printed

Floral and foliate design. Printed in green on off-white ground. Two pieces joined together with glassine.
Fragment
, 300–100 BC
wool Technique: embroidered in stem stitch on plain weave foundation

Figure wearing a mask with many appendages and trophy head.  Embroidered in strong colors.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, applied mica flakes

Flitter frieze. Alternating large and medium sized foliate medallions connected by and inset with pink rose floral vines. Top has thin pink and gold mica flake lines with hanging floral vines. Bottom has gold mica flake and pink stripes with a floral scalloping motif. Background has vertical thin stripes and thick bands decorated with beading and scrolls Ground shades from blue to light green (bottom to top). Printed in pinks, blues, greens, white, dark red and gold mica flakes. Printed in top selvedge: "S.A. Maxwell & Son Co New York & Chicago - 2960" "Exclusive-Design" "15"
Textile
, late 19th century
cotton Technique: printed by engraved roller on plain weave

Shaped fragment, probably from a dress, showing a wavy stripe of rose and light brown, edged with yellow and blue stripes. Small flower clusters interrupt stripe.