biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Jar
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, black, gold gouache on cream paper
Drawing

Design for a jar, partially decorated, with crossing bands outlined in green and filled with flowers in gold, red, and green on blue or black ground; circular shapes also containing floral motifs and arabesques and other flowers.
Une Moria a Bodiquier (Italie)
Adolphe Appian, French, 1818 - 1898, 1873
Etching in dark brown ink on cream-colored Japan paper
Print

Landscape with a figure assisting in the operation of a water-driven grindstone near a body of water. A pool is in the foreground.
Sketch of a Girl with a Frog
Louise Howland King Cox, American, 1865–1945, ca. 1895–1910
Graphite on light brown laid paper
Drawing

Girl seated, with knees under her, gesturing towards a frog, at left
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–57
Block-printed paper

Urn with flowers sitting on vine-covered pedestal. Printed on woodgrain ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating design of alternating cartouches of midnight blue, burnt umbre, and mica, and corinthian columns of complementary colors and mica acanthus leaves, upon a pale turquoise ground with a geometric overlay in midnight blue, dark green and mica.
Architectural Details, Cathedral of Notre Dame, Senlis
Arnold William Brunner, American, 1857–1925, 1879–80
Graphite on paper
Drawing

Ten sketches of stonework, labelled; one from Chapel of Bishops, Laon.
Textile
, ca. 1840
cotton Technique: roller printed in five colors on plain weave

Two offset Gothic-style windows set one next to the other with a bishop standing in front of one. Glazed and polished.
Sketch of Floor Plan Facing a Lake, for Stage Set
Henry Dreyfuss , American, 1904 – 1972, June 13, 1922
Graphite, red crayon on paper
Drawing

Plan of house with rooms identified; lake upper margin.
pointing left hand, wrist, forearm to beginning of sleeve
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk on buff paper
Drawing

pointing left hand, wrist to forearm; beginnings of sleeve appear to left
Alexander II, Tsar of Russia, King of Spades from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Alexander II, Tsar of Russia, King of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Trophy with Flute, Ivy and Blue Ribbon
Antoine Berjon, 1754 – 1843, 1780–90
Pastel, black chalk, watercolor Support: white laid paper, glued to mount of ruled borders
Drawing

A wreath of leaves with a flute tied to it below by a ribbon.
Waistcoat
, ca. 1810
silk, polychrome plate-printed silk, plain weave tape, silk and metallic twill tape, sequins, on silk Technique: embroidered in satin, stem and knot stitches, appliquéd satin weave medallions, long floating stitches of metal- wrapped silk, on plain weave

Gentleman's waistcoat with straight hem and standing collar. Cream silk embroidered foundation showing pattern of small scattered flowers and sequins. Embroidered around the collar and straight pockets with flowers carried out in satin stitch, and sequins. Appliquéd with sequins and printed satin weave silk medallions. The medallion below the left pocket is of Diana disarming Cupid, the one below the right pocket is of Venus playing with Cupid. Silk-covered buttons embroidered with flowers.
Bald Porcupine Island
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite and white heightening on brown paper
Drawing

Rock shore, sailboat and island; trees, left.
Bag
, early 19th century
cotton, glass beads Technique: beaded knitting

Rectangular bag of white knitted cotton with drawstring top. Design in red beads of a lyre in a dotted field, surrounded on three sides by a border of stylized rosettes.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Orange, purple, pink and white flowers on dotted brown and black ground.
Sampler
, mid-17th century
silk embroidery on linen foundation Technique: embroidered in buttonhole, eyelet, herringbone, chain, running, double running, fern, cross and detached looping stitches on plain weave foundation

Bands of pattern with alphabet at top
Ceiling paper
, 1900
Machine-printed

Small-scale floral in brown, peach and white, over mica fill of tiny flowers, on pastel blue ground.
Souvenir picture
, 1893
silk Technique: jacquard woven

Picture of the Manufactures Building, river and boats at the Columbian Exposition.
Woven at the ends, "Souvenir / Manufactures Building / Area 30 acres - cost $1,700,000"  "Woven in the Columbian / Exposition Chicago 1893"
Advertisement for "Green's Lawn Mowers"
Whitehead & Hoag Company, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, curved top and bottom, featuring polychrome printed decoration, image/text reads horizontally, of lawn mower on grass lawn with path, river and castle in background, inscribed on decorative banner above "Green's," partially legible inscription on smaller banner "Silens Mesoff" [?], coat-of-arms at right, below inscribed "Lawn Mowers, Hundreds of Thousands in Use." Side panel below inscribed "Regd. Offices & Works, Smithfield Iron Works, Leeds." Reverse features red lion, coat-of-arms, unicorn on top of banner inscribed "Dieu Et Mon Droit, inscribed above "Thos. Green& Son, Ltd., Established Over Half A Century" and inscribed below "Appointed By Royal Warrant Horticulture Engineers To His Majesty The King." In fine print below inscribed "The Whitehead & Hoag [illegible print], St., London, E.C., Made in U.S.A." Side panel below inscribed "London Offices & Works, New Surrey Works, Southwark Street, S.E." Lid hinged on side. Striker on bottom.
Fragment
, 600–899
linen, wool Technique: plain weave with discontinuous wefts (slit tapestry), with eccentric wefts and wrapping. In weft-faced plain weave fabric.

Plain natural wool fabric in weft-faced plain weave, patterned by a tapestry roundel above a border or band. The roundel shows four birds on a red ground surrounded by a hooked or wave-like narrow border. The section of the band contains plant forms alternating with rabbits (?) on a red ground.
Nude Study of Seated Man
Kenyon Cox, American, 1856–1919, 1880–84
Charcoal and graphite on cream paper
Drawing

Older, nude male figure is shown seated, facing left, with hands behind his back.  Dark background.
Scarf pin
, late 19th century
Gold, silver, diamonds, enamel

In the form of the head of Punch.  Probably designed by J. Paul Robin.
Fragment
, 19th century
silk Technique: plain compound satin with brocade

Dragon and arabesques in blue, green, dark brown, yellow and light blue on a gray ground.
Assyrian Head Pattern Fish Server
Meriden Brittania Company, Meriden, Connecticut, USA, 1808 - 1898, 1885–86
silver plated, metal
server

Spade-shaped blade, decorated with radiating scrolls along edge of bottom half of right side, forming reeded surface on obverse and fluted service on reverse side, and scalloped edge on both. Tip of blade comes to curved point. Center of blade decorated with engraved scrolling foliate motif. Narrow neck and stem, decorated with diagonal reeding halfway down handle, meeting setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Terminal of slightly rounded rectagular shape, with subtle upturn. Reverse side of handle devoid of ornamentation, with plain polished surface.
Pitcher
Henry Baggeley, ca. 1855
porcelain, vitreous enamel, gold
pitcher

A parian ware pitcher featuring the coats of arms of the nations that participated in the Exposition Universelle held in Paris in 1855 in relief, with strapwork ornament.
Textile
, 16th century
silk Technique: gauze weave

Monochrome patterned gauze with vegetal forms and incorporating poisonous beasts, such as snakes and scorpions.
Martyrdom of a Female Saint
, 1700–50
Black chalk, pen and black ink, brush and reddish-brown wash on cream paper
Drawing

A kneeling female figure is about to have her head severed by an executioner. A group of turbaned spectators is seen at the left at a lower level. An angel flies down, bearing the crown and palm of martyrdom.
Darning sampler
, 1810
silk embroidery on cotton foundation Technique: embroidered in running, cross, eyelet, and chain stitches on plain weave foundation

Central square with inner borders surrounded by darning crosses and squares of embroidery.  Square at upper left unfinished.
Plate
Imperial Porcelain Manufactory, St. Petersburg, Russia, ca. 1780
Glazed porcelain

Dessert plate with gold monogram of Konstantin Pavlovich in blue oval, framed with gold and crested by purple crown and green wreath. Gold laurel on blue band around edge.
None but the Brave deserve the Fair! (Proof)
John Leech, English, 1817 - 1864, 1865
Chromolithograph on paper, mounted on heavy paper
Chromolithograph

Young woman in ballgown and flowers, right, confronted by a very young man; doorway to the dancing room behind him. Title and comment below, and artist's and publisher's names and dates.
Chintz fragments
, mid-18th century
cotton Technique: mordants for 2 reds, 2 purples and black applied over resist by brush and pen; madder dyed; blue applied by immersion over resist; yellow applied by brush; chintz on plain weave

Three fragments of flowers and stems on a white ground.
Sidewall
, 1915
Machine-printed on paper, glazed

A bathroom-type (sanitary) paper divided into squares, simulating tile, three squares to a width. An over-all, jagged, chipped design is outlined in green on a very light-green ground. The squares are outlined thinly in darker green.
Textile
, 1800–1820
silk Technique: satin weave with supplementary weft patterning

A length of fabric woven specifically to be used to upholster a chair. Gold satin ground with neoclassical motifs for the back, seat top, and seat front (or arm?) in red.
Mirror
, late 18th–early 19th century
Cut glass, mirrored glass, metal, wood

Oval mirror surrounded by oval metal frame with row of square, faceted glass "jewels"; wood backing; four mounting rings on reverse, allowing vertical or horizontal orientation.
Tent panel
, 1650–1700
cotton Technique: mordant painted and dyed (chintz) on tabby weave

Large tent panel with an architectural form, characteristic of Islamic art, of a a pointed, lobed arch within a frame, suggesting the mihrab or prayer niche. Within this frame a symmetrical, balanced pattern shows a slender vase, from which spring branches ending in blossoms; a second slender vase emerging from the first, holds a second cluster of flowers, which almost touch the curved top of the arch.  At the base, the vase is supported by a rudimentary hillock, at either side of the vase grow long pointed leaves, and at either corner rise slender branches, from similar small mounds, on which appear fruits or seed pods and flowers. The background color is a dark reddish-brown, and on this the main design is enlivened by a secondary pattern of many small leaf sprays or curling waves, reserved in the white of the cloth, which appear throughout among the branches.  The vase shape is in red and yellow diamond pattern, the second vase or stem is brown dotted in white; flowers a strong red with much interior delineation of form.  
The frame of the mihrab is a narrow red band which surrounds it and carries a small pattern in brown, yellow and white.  At either side, beyond this red frame, is a second narrow border on yellow with small vine and flower-head pattern.  This leads up into the spandrels, also yellow, avove the pointed arch, where a matching vine design appears on either side of the tip of the arch.  A curved segment of a pointed oval closes either side of the spandrels.  Across the bottom of the panel runs a border decorated with crosses alternating with diamond shapes, within each of which are stylized patterns. The same border crosses the top of the panel above the spandrels, and above that appear on white ground a row of small iris, or crocus flowers.  The curved segment of a pointed oval appearing on either side of the spandrel suggests that this panel was part of a series.  
The general color effect is rich and varied with reds, greens, sky blue, dull yellow, orange, and  a plum color, and is much lightened by the small reserve pattern on the dark background.
Country Stream with Boat and Possible Structures
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

River in foreground to background, with grassy shorelines on left and right. Small boat near shore in right middground, and stand of trees on shore on left bank. On right bank, in distance, possible structures.
Fork
, ca. 1650
silver, enamel

1985-103-62-a: Tapered sheath, blue enamel surrounding silver flo...;     1985-103-62-b: Small blade straight-sided, the upper edge taperin...;     1985-103-62-c: Two-tined fork, curved shoulders, long neck with b...
Towel
, 16th–17th century
linen Technique: plain weave embroidered with deflected element work

Woven linen towel with three rows of rectangles separated by a sawtooth lines on each end. Rectangles have needlemade filling stitches with birds, flowers and possibly a vase motif. Short fringe on each end.
Sidewall - sample
, 1906–07
Machine-printed

Stylized tulip, long stemmed with curled leaves on each side. Small sprays of leaves placed vertically, the tulips are widely spaced with small tulips interspersed. Printed in gold mica, green metallic, light green, black on a background of criss-cross lines.
Arrow Pattern
, 1780–1830
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

The repeated yabane (arrow) pattern contains a row of arrows facing north and  with an alternating row facing south. Horizonal lines are caved across the screen creating a geometric lattice  pattern. There is use of wear on all four corners of the stencil.
Dagger Form Knife
, early 16th century
steel
knife

Triangular tapered pointed blade swaged and notched upper outer edge, inner edge flat. Scroll hilt. Tapered deeply-cut spiral handle. Flat button terminal with radiating flutes. Applied thumb pommel spirally fluted at right near hilt. On blade inner side 6 stamped lozenges with central circle, one on outer side.
Band
, late 16th–17th century
silk on linen Technique: embroidered

Band with attached fringe showing a symmetrical, curving vine. In red silk on linen ground.
Selendang (shoulder cloth)
, 19th century
silk Technique: wax resist dyeing (batik) on plain weave

Narrow shoulder cloth (selendang) in green, grey and dark brown with an all-over leaf and flower pattern with birds. Border by fringe with vertical parallel lines gives illusion of a longer fringe. Chinese influence indicated by inclusion of the lokcan bird which is based on the phoenix. Fringed.
Abstract Japanese Naval Flag Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Abstracted Japanese naval flags in the shape of pine-bark lozenges are alternating with another Japanese symbol using a chrysanthemum and two characters. Silk threads are added to support the stencil structure.
Design for a Chalice
Maximilian Joseph Limpach, Czech, active the 1st half of 18th century, 1714
Etching and engraving on white paper
Print

Engraving of a chalice with a base and stem composed of a sheaf of wheat, the grains splaying out to form a base. A grapevine encircles the stem and extends around the base of the cup. Designer's and publisher's names along bottom.
Border
, 1830–50
Block-printed and flocked

Simulated small strips of fabric or leather, connecting at 90 degree angles, anchored by a brass tack. Printed in blue and ocher. Printed four across.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Allover overlapping dots in gray, white, and dark green or brown.
Allegory of the Triumph of the Church, Fourth Scene
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Recto: Pen and brown ink, brush and brown and black washes over black chalk, with corrections by the artist in white opaque paint on laid paper Verso: Pen and brown ink on laid paper
Drawing

Recto: View of a procession with an open chariot moving left, led by a group of figures and animals identified as the Four Evangelists. An ox (symbol of Saint Luke) and a lion (symbol of Saint Mark) walk before the chariot together with an angel (symbol of Saint Matthew). Saint Peter leads the lion, and Saints Paul and James walk nearby. A large eagle (symbol of Saint John) flies overhead at left, the reins in its beak. Seated in the chariot is a haloed female figure (drawn twice in overlapping strokes) holding a book. A second woman kneels before her.  An explanatory inscription in Dutch appears along the bottom margin. Annotations in Italian throughout.
Verso: Dutch inscription
Study for standing boy with kid, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black, brown pastel crayon on tracing paper
Drawing

Young male figure standing slightly turned, holding kid with both arms; Alterations in black pastel crayon. The head of the boy is now shown and most of the drawing is indistinct. Beside is a brown ovoid.
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 the head of a griffon. Body of the helmet covered in ornamental panels. Curved ear flaps. At top, scrolls and feathers. A pelican, feeding its young, sits below the feathers.
Boulders Among Trees, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of an outcropping of boulders and rocks in Catskill, New York, with two trees visible in the foreground at right and in the middle distance at center.

Verso: Lanscape sketch showing a close look at the waters of a creek and the pebbles beneath the surface. The sky is reflected in the rushing water, which is loosely rendered.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Three panels of grotesque ornamental design with classical figures, wreathes, masks, baldachins, bucrania, sphinxes, squirrels, birds, portrait medallions, scrolls, garlands, and vines. The plate is lettered but not signed.
A Mill in the Alps
Frederic Edwin Church, American, 1826–1900, 1868–69
Graphite, brush and white gouache on light brown wove paper
drawing

Architecture and landscape sketch showing a view of a rustic mill nestled in dense woods in the European Alps. Situated in the middle distance at center left, the mill is constructed of logs and has a large wheel, visible at center, and is propelled by the stream that flows toward the viewer at lower center. The lower right corner, a road follows the stream before curving out of view to the right. In the background, a mass of evergreen trees backdrops the scene, while a mountain ridge is faintly rendered at upper right.
Button
, late 18th century
Brass

1931-59-220-a: Two flat brass buttons ornamented with engraving: ...
The Needles
Thomas Moran, American, b. Britain, 1837–1926, June 2, 1892
Recto: Graphite, brush and watercolor on paper Verso: Graphite on paper
Drawing

Recto: Horizontal view of distant jagged mountian peaks.
Verso: View of two peaks with a canyon wall in left background.
Cane
, 18th century
Malacca (rattan), burlwood, gilded brass, leather

Ridged stick with original leather strap and brown tassel. Mounting decorated with bands of geometric and floral ornament. Short brass ferule tipped with iron.
Mount
, ca. 1745
Gilt bronze

furniture mount
Netsuke
, 18th century
lacquered papier-mache
Miniature mask

Mask with heavy eyebrows spiraled at inner corners and wide grinning mouth. Inside of mouth and corners of eyes are lacquered red, the eyebrows and pupils black, and the eyeballs and teeth gold. The inside of the mask is lacquered brown.
Ewer
, 17th–18th century
Glass

Amber-colored ovoid body on triple-knopped stem, circular foot. Moulded body with central band of trees and dots with reeding above and below. Neck swirled and flattened, "bird's-neck" type, terminating in spout.
Stage Design: Palace Garden Architecture
, early 18th century
Pen and bistre, brush and sepia wash on paper
Drawing

Horizontal rectangle showing the garden face of a palace. At left, an arcade surmounted by a balcony.  In the background, two staircases and two lion fountains.
Design for a panel
Jean-Charles Delafosse, French, 1734 – 1789, 1780
Pen and ink, brush and wash on white paper, pricked for transfer
Drawing

This triangular shaped frame holds a composition of an Ionic pediment with an urn on top; the whole surrounded by an ovoidal wreath. A flower swag suspened from rosettes at the upper corners.
Frieze with Bacchantes
Felice Giani, Italian, 1758–1823, 1780–1820
Black chalk, graphite on off white laid paper
Drawing

Two winged victories on either side of amphora resting on top of pedestal.
Sampler
, 1810
silk embroidery on linen foundation Technique: embroidered in cross and counted satin stitches on plain weave foundation

A grassy promenade in front of a large building, with domestic animals and a man and woman in the foreground. The promenade is flanked by rows of trees. The spaces are filled with birds, flowering plants, and verses. In the upper left and right corners, pairs of angels hold wreaths encircling the initials E and T. Surrounded on four sides by a carnation border.

The verse reads: 
God counts the sorrows of his saints
Their groans affect his ears 
He has a book for their complaints 
A bottle for their tears
Standing Bedouin Figure with Knife Drawn
Frederic Edwin Church, American, 1826–1900, 1869-1870
Oil paint and graphite on brown wove paper
Drawing

Figure study of an individual outfitted in Bedouin clothing. The figure stands around loosely-rendered rock formations as he holds his dagger aloft and 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.
Fragment
, 14th–15th century
silk, metallic threads (gold leaf on leather over linen core) Technique: two integrated fabric structures, 4&1 satin patterned by plain weave (lampas)

Pairs of animals with pseudo-Kufic writing on their bodies and pairs of birds in gold and silver on rose.
Hut in a Mountain Valley, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper
Drawing

Landscape sketch showing a loosely rendered view of a hut in a mountain valley in Mexico. Gently arching, plain-like terrain extends from the foreground and into the middle distance, where a short hut with a conical roof is visible at center right. In the background, an immense and rugged mountain looms over the scene, in an otherwise clear sky.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache, graphite on glazed tracing paper
Drawing

Fantastic pending blossoms are connected by curved stems I nthe bottom row. They are staggered and connected by flower stems in the top row.
Entryway with Steps
Luigi Biagi, ? – 1711, ca. 1700
Pen and brown ink, gray wash, over graphite, ruled border in pen and brown on white laid paper laid down on thin white paper
Drawing

Vertical rectangle showing archway with stairs leading to a niche with flowers.
Design for an Earring
Salvatori, Italian, active 19th century, ca. 1880
Graphite on cardboard
Drawing

In the center a ram's head with a palmette above and a shield below. Three hanging drops beneath.