biglam/cooper-hewitt-alt-text huggingface dataset:
Women
Robert Frederick Blum, American, 1857–1903, 1883–1884
Pastel crayon on wove paper
Drawing

Recto: Sketch of two female figures; Verso, Landscape with windmill and houses.
Fragment
, 17th century
silk Technique: satin damask

Palmette arrangement within strapwork bands
Ribbon
, mid-19th century
silk Technique: warp printed

Ribbon in a plaid pattern of blue, white and red with wavy blue and white lines created by warp printing process.
Chimneypiece Design
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

Design for a chimneypiece with an overmantel mirror and panel with neoclassical ornament. The mantel features fluting, laurel leaf festoons and lamb's tooth patterns. The overmantel mirror is framed with a bead course, flowers, and rosettes, with a central vase of flowers on the upper edge. Above, a narrow rectangular panel with a rosette and leaf frieze. Below, two plan details of the chimneypiece, with a scale below. The plate is signed and numbered.
Puppet
, 18th century
Carved and painted wood, glass and woven cloth

Head of an old man with busjy eyebrowns and wavy white beard. Yellow crocade coat. Pierced hands nailed onto sleeves. Conical straw hat.
Ornament
, 3rd–4th century
warp; S-spun linen, Wefts; S-spun linen, S-spun wool Technique: slit tapestry woven with supplementary weft wrapping

Leaf with circles surrounding outer edge and a straight stem
Fountain with the arms of Pope Clement XI Albani
Ludovicus Radix, Italian, 1762
Pen and ink, brush and watercolor on paper
Drawing

Wall fountain topped with a pair of trophies and a pediment with the arms of Pope Clement XIV.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1775
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1320. Below is a bse with steps in the center, and candelabra upon the corners: women support a bag-like calyx with the flame. The sides of the body of the sarcophagus have the shape of trapezia. On the top is the relevant motif in 1938-88-1308.
Card Case with Pencil
, 19th century
Shaped tortoiseshell, ivory, metal; wood and graphite (pencil)

Rectangular card case, tortoiseshell patterning has uneven opacity. Two sides of case connected at bottom, center of pertruded half-circle pinned together, allowing the sides to fan outward, revealing cards within.
Landscape in Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch from Mexico showing a view of several bushes or trees, at center, situated atop gently arching terrain with steep mountainsides framing the scene at left and right. 

Verso: Mixed sketches from Mexico showing, at center, two ceramic jugs beside three propped-up sticks; at lower right, the outline of a head wearing a hat and a seated man facing us with his right hand outstretched; and at center right, the loose outline of a distant hill or mountain.
Stage Design, Group of Egyptian Buildings from the Exterior
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Group of Egyptian buildings with two pyramids.
Vestibule du Grand Escalier de Versailles
Charles Le Brun, French, 1619–1690, 1721-1728
Engraving and etching on laid paper
Bound print

View from the vestibule toward the grand staircase at the Castle of Versailles, known as the Staircase of the Ambassadors. The title is printed below the view in French and in Latin. The plate is signed and numbered.
staircase model
, mid–late 19th century
walnut, fir

Staircase model in French style.
Fragment
, ca. 1835
silk, metallic thread Technique: woven

Polychrome design of broken branches with large fruits and flowers.
Fragment
, ca. 1835
silk, metallic Technique: woven

Polychrome design of broken branches with large fruits and flowers.
Textile
, 1830s–40s
cotton Technique: printed by engraved roller on plain weave; discharge mordant painted and dyed with resist dyed (chintz) on plain weave

Valance-shaped piece of glazed chintz with an all-over design of natural-size roses and cornflowers, in bright blue and acid yellow on a dark brown ground.
The Dressing Room of King Ludwig I at the Munich Residence Palace
Franz Xaver Nachtmann, German, 1799 - 1846, 1836
Brush and gouache, gold paint, pen and black ink, graphite on white wove paper
Drawing

The new wing (Königsbau) of the Munich Residence Palace was built by architect Leo von Klenze in 1826-35 in imitation of the Pitti Palace in Florence. King Ludwig's dressing room, in the new wing, with vaulted and coffered ceiling, was painted with scenes from classical literature and poetry. The geometric floor covering recalls the ceiling pattern. Painted wall decoration is derived from Raphael's Vatican Loggie in the grotesque style. Von Klenze designed the gold and white furniture.
ESSAIS DE TABATIERES A lusage des Graveurs, et Sizeleurs Invantées et grave par G. Roberday 1710
G. Roberday, French, active 1697 – 1713, 1710
Album

An album containing a series of snuffbox lid designs (two designs per plate), featuring rococo, grotesque, chinoiserie, singerie ornament with commedia dell'arte figures. The plates are numbered and signed.
Allegorical Figure of "America"
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th–19th century
hard paste porcelain, vitreous enamel, gold
figure

1960-1-29-a/d: (a): Standing female figure, wearing jeweled mantl...;     1960-1-29-d: Standing female figure, wearing feather skirt, man...
Band
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace (reticella style)

Band of reticella has a row of small squares containing ships, various sea creatures, and other decorative motifs. Straight borders.
Bobolink
Ernest Thompson Seton, American, 1860–1946, 1893
Pen and ink, grey wash, on illustration board
Drawing

A bird flying over a swamp area. Another bird flying in the distance, right.
Puzzle Picture of Napoleon
Napoleon Bonaparte, French, 1769 – 1821, 1813
Hand-colored etching Support: thick white wove paper laid down on white wove paper
Print

Vertical rectangle; portrait of Napoleon Bonaparte shown in left profile, bust only. His face composed of writhing nude figures, his hat an eagle, and his uniform a map of Germany with a hand as epaulets. Below, an inscription refers to the evens of Napoleon's 1815
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1880
Cardboard, leather, cotton.

Small notebook with handwritten formulas for dyestuffs to be used for printing textiles. Contains 100 samples of printed textiles.
Trimming
, 16th century
linen Technique: bobbin lace (continuous braid-like)

Fragment of edging lace in a zigzag design and trimmed with tassels.
Railings for Chapels, from "Clostures de Chapelles"
Jean Le Pautre, French, 1618–1682, 1659
Etching on paper
Print

A = Jombert 67, 1, with the address, horizontally in the scroll: ''Ce vend a Paris chez P. Mariette, rue St. Jacques a / lesperance auec priuilege. 1659.'' B = J. 67, 3, with the address: ''A Paris chez P. Mariette rue st. Jacques al 'èsperance;'' with the number ''3''.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Top. a) Mucius thrusts his right hand into an altar fire, pointing with his left hand at the (killed) royal secretary lying beside him. King Porsenna is seated at left: counsels, a priest and soldiers are in the right rear. Bottom, b: Curtius in armor upon his steed, leaps into the abyss. Onlookers are shown in the left and right rears.
Cap crown
, 18th century
linen Technique: bobbin lace, Brussels style

Cap crown worked with a floral design and  central floral motif.
Ornamental Frieze with Sea Nymphs
Michel Le Blon, German, 1587 - 1656, ca. 1630-1650
Engraving on paper
Print

Neptine and sea nymphs and monsters are seen sporting over the waves; a closely knit composition.
Border
, mid-18th century
linen Technique: bobbin lace, Binche style with snowflake ground

Binche style border with an elaborate ground interspersed by asymmetrically placed floral garland.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Study of what looks like an over-sleeve, on standing figure.
Study for a Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite and charcoal on cream wove paper
Drawing

Paper squared off with grid for transfer. Four young men before a festoon of oak leaves. Two at left with a book. Flute player at right.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen,brown ink, brown wash over traces of black chalk, Paper

Top: kneeling before Jupiter Thetis touches his chin with her left hand and implores him to grant success to the Trojans. Juno is shown in profile in the right rear, standing and leaning with thoughtful expression upon clouds. ''Bottom: Thetis and Peleus join hands before a flying male genius who holds torches in his extended hands. A candelabrum stands at left, an altar at right.
Marriage Contract; Proposal; Leave-taking; Marriage
Robert Cruikshank, 1789 - 1856, 1815–20
brush and grey wash, graphite on paper
Drawing

Horizontal rectangle. Four small scenes of interiors with figures, on one sheet.
The Beneficence of the Law, Design for Mural at Essex County Court House, Newark, NJ
Kenyon Cox, American, 1856–1919, ca. 1906
Brush and oil over black chalk on canvas
Drawing

The figure of Law, with an open book in her lap and a golden scepter in her left hand, is seated before a curved group of four columns. Peace sits at right with an olive branch, and Justice floats above to the left, holding scales. Below, a half-nude woman gives fruits to cherubs, symbolizing prosperity.
Design for a Mass-Operational House Designed by Hector Guimard, Staircase Construction
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 the staircase construction.
Textile Design: Les Monuments de Paris (The Monuments of Paris)
Hartmann et Fils, Munster, France, 1810–15
Pen and ink, brush and gray wash on white paper, mounted
Drawing

Textile design; cartoon for cotton printing, squared for transfer. The design comprises ten monuments of the city of Paris, France: upper left: the Pont de la Concorde; upper center, the Arc de Triomphe du Carrousel; upper right, the chapel of Les Invalides; center left, the Place de la Concorde; center, The Church of St. Geneviève; center right, the column of the Place Vendôme; lower left, the Church of Saint Sulpice; lower right, the Port Saint Denis; bottom left, the Chambre des Deputés; bottom center, the Palais des Tuileries.
Living Room Furniture, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

Two table designs on sheet that is horizontal rectangle. On left, secondary table with music cabinet beneath table top. On right: two views of taller, thinner table.
Textile fragment
, 902–908
silk, metallic thread Technique: plain weave, brocaded

Brilliant cerise plain cloth with brocaded gold repeat of floral sprays, arranged in alternating rows, two at a time.
Band
, 17th century
silk, metal Technique: embroidered and couched velvet

Red velvet ornamented with yellow silk and metal threads (couched) in pattern of leaves and scrolls within straight borders.
Band
, 17th century
linen Technique: (a/d) lace of early premade bobbin tape with needlework fillings; two pieces have bobbin ground and two have needle gound

Two pieces of lace in which tape (bobbin-made) has been arranged to form a scrolling stem with leaves in flowers; in A/ the fillings are needlepoint, the ground bobbin-made; in B/ the fillings and réseau are needlepoint. | Lace: pre-made tape | This tape lace is in four pieces: a and b have a needle-made background c and d have a bobbin-made background | All four pieces the same pattern as in 1939-64-13 which has a background of needle-made bars.
Sugar Bowl
Joseph Angell II, English, 1816 – 1891, 1852
silver, gold
sugar bowl

Ogival footed silver sugar bowl; pointed handles; engraved with plant forms in cartouche-like areas. Gilt interior.
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet)

Plant forms facing in alternate directions in alternate rows in blue on tan.
Band
, 17th century
linen Technique: plain weave with reticella and embroidery

Section of wide border of linen of cutwork with reticella and embroidery. Design in horizontal bands, of geometric elements, with confronted birds in embroidery.
Border
, 1640–60
linen Technique: bobbin lace, discontinuous tape

Border with narrow band in repeat pattern of birds in flight and geometric foliated forms from which three large rounded pendants are suspended. In each, a double-headed eagle surmounted by a crown and surrounded by foliated and floral forms. Border consists of smaller pendants, each composed of a single geometric motif.
Detail of the Call to Arms Statue on the Dewey Arch
, 1899
Photographic print on paper
Print

A photographic detail of the sculpture Call to Arms on the Dewey arch. The sculpture shows men brandishing arms being led by an angel with a shield.
Tea Bowl
Royal Worcester, English, established 1751, ca. 1770
soft paste porcelain, vitreous enamel
tea bowl

Round cup, no handle, on high foot. Blue floral decoration on exterior. Double line on inner rim.
Scenic Set 'L'Orage'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1861
block printed on paper
scenic

A complete scenic set of three panels depicting five cows in an Alpine scene with a shepherd, and thunderstorm drawing in distance. The printed image is surrounded by a three inch printed gray border.
Sidewall
, 1880–90
Block-printed paper, embossed

Imitation leather. Padded and embossed floral and foliate design with phoenix-like birds perched on acanthus leaf center motif. Background handpainted. Printed in bronze gold and blue gray.
Textile
, 17th century
silk Technique: double cloth

Fragment of red and white striped floral pattern is arranged diagonally.
Fork
, ca. 1700
steel, brass, mother-of-pearl

Two long straight tines, chiseled at the joint, neck baluster-shaped. Flaring rectangular handle carved mother-of-pearl. Brass rivets on both sides of handle. Brass mounts and band along the side of handle decorated with engraved geometrical and fish-shaped forms.
Flounce
, 1700–1750
linen Technique: bobbin lace, Brussels style

Brussels-style flounce patterned by two alternating vertically symmetrical groupings of scrolls and plants.
Country Life
, 1865–70
Machine-printed paper
Sidewall

On an ungrounded, light-weight gray paper are printed picture frames (tromp l'oeil) in horizontal, alternating rows. Each frame contains horse-back riders in red, green, brown, gray and blue.
Waterfall
James Henry Moser, Canadian, 1854–1913, 1880
Graphite on laid paper
Drawing

Foreground, trees and boulder by a stream. Figures on rocks and paths. High ledge with waterfall, center. Low ridge in background.
British Footbal Player, inscribed "Saved"
, late 19th century
Plated metal
Matchsafe

Rectangular, image/text reads horizontally, featuring raised decoration of British football player in mid-stride on playing field, reaching towards a thrown ball, inscribed below right "Saved", identical on reverse. Link attached to lid top. Lid hinged on long side, thumb catch on opposite side. Striker on bottom.
Woodblock from Tokaido Gojusan Tsugi-na Uchi (Fifty-Three Stations on the Tokaido)
Ando Hiroshige, Japanese, 1797–1858, 19th century
Woodblock print (ukiyo-e) on mulberry paper (washi)
Print

View of river with mountains on right; farmers working across the river and rice fields in the middle distance.
Playing Cards
Cornelius Saunders & Frank Shepherd, 1885–86
Silver, enamel
Matchsafe

Oblong, with curved corners, snuff box type container featuring polychrome decoration of a fanned hand of playing cards: from left, first card is ace of spades in black and white enamel, followed by king of spades, queen of spades, jack of spades, all in red, blue, yellow, black, white enamel, ace of hearts in red and white enamel. Underside of box features elaborate monogram (AE). Lid hinged on back panel. Striker on right panel.
Border
, 1835–50
Block-printed

Against a field resembling weaving or basket work, horizontal groups of interlacings alternate with single rosettes. Running moldings at top and bottom. Pale green, dark green and black, on green ground.
Frieze
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper

On beige ground, alternating large and small tulips bearing green floral fronds. Border composed of tan, green, and light red with geometric flowers in pink and red.
Studies of Hands
Edwin Howland Blashfield, American, 1848–1936, ca. 1900–10
Charcoal on grey wove paper
Drawing

Eight studies of hands.  Hands appear relatively flat, showing the palm, the back of the hand, or the side.
candelabrum
Alphonse Giroux & Cie, 1799–1867, ca. 1870
Gilt bronze

Three-legged gold decorative clock with three lower arms and one raised center arm for candlesticks. Insects are scattered among the candelabrum.
Bands
, 800–1000
Material: cotton, wool Technique: tapestry weave, slit and single interlock
Band

A) Narrow band patterned by birds and bird heads in yellow, ivory and blue. Outlined in black on a red background. B) Narrow band patterned by foxes, a bird and geometric shapes in yellow, ivory and blue, outlined in black on a red background.
Le Sermon
Charles Rauscher, b. 1841, 1872
Etching in dark brown ink on white satin
Print

In a Bavarian domestic interior, a father, seated at his desk, left, glances up indignantly at his son who stands before him with his bride and baby in arms. Another figure peers through the door, right background.
Knife
, 1675–1700
ivory, steel, brass

Scimitar-shaped blade, humped curve upper edge, angled point. Baluster neck and brass baluster ferrule. Ivory handle curved with deep upward spirals, surmounted by male head in military headgear and moustache.
Coffeepot
, ca. 1785
copper, silver, wood
coffeepot

Tall pear-shaped body on collet foot; hinged domed lid with ball finial; long, flat spout with shallow flutes, joined at bottom with shell mount; long hardwood loop handle joined at bottom with long tubular socket and at top with elaborate acanthus mount; beading around base of lid.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a seated woman in profile, with head turned away.
Design for a Garden
Jan David Zocher the Younger, 1791–1870, 1856
Pen and brown ink, brush and watercolor on cream paper
Drawing

Landscape design for a canal garden in asymmetrical plan with free-form beds and serpentine walks. A combination of plan and elevation views indicate trees and flowering shrubs with accentuating colorful touches of bulbs or annuals along the edges of the beds.  Blank inscription plaque top center of garden. Scale noted bottom left.
The Ecstasy of St. Francis
, 1800–20
Black chalk and brush and white gouache on cream paper
Drawing

St. Francis is seen kneeling, facing one-quarter left; his right arm is supported by an angel, while another grasps his left wrist.
Fragment
, 5th century
wool, linen Technique: appliqué

Fragment of blue challis on a yellow ground.
Bowl
, first half 19th century
Blown glass

Plain bowl of aubergine-colored glass, probably intended as inset in cut-out silver piece.
Carp and Flowers
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

The carp and many other popular Japanese motifs originated from China, and now all represent generic symbols of good fortune. The carp is also a symbol of achievement, ambition, and civil success. It is often seen as fighting upstream and therefore, is considered a sign of enduring hardship. The carp, seen in the shape of a crest, is surrounded by flowers. Silk threads are added to support the structure of the stencil.
Rebozo (shawl)
, 18th century
silk, metal Technique: (foundation) warp-faced plain weave; embroidered

"Landscape" rebozo made of three continuous bands between four multicolored bands. The scenic bands are made up of groups of figures in various poses engaged in a variety of activities - play of various instruments, singing and outdoor pleasures. Note the bouquet in the center of the middle band, the two ships in the bottom band to the right of center, the two figures being burned at the stake in bottom band extreme right, two stakes being prepared and not yet set on fire directly above in the top band. Two representations of a ball on a string held by three figures.
Stormy Sea with Cliffs
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Dark, rough sea breaking in foreground, cliffs behind at right.
Tower Base, Sketch of Ruins in Forest
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of forest with the ruins of a building.
Frame
, 18th century
Carved, molded and painted wood (probably fir)

Rectangular form with molded and ridged golden inner frame border and four golden rectangular bosses in the corners of the border.
Brisé fan
, late 19th century
Painted bone sticks, silk ribbon, rivet set with a stone

Brisé fan. Bone sticks painted to resemble vernis martin. Obverse: musical group in a landscape, chinoiserie scene at gorge. Reverse: a rural landscape with a church spire. Rivet is set with a ruby-colored stone. Tortoise shell on guards.
Salad Bowl, from the Cabbage Leaf Service (Saladier; Service à Feuilles de Chou)
Sèvres Porcelain Manufactory, French, established 1756, 1773
soft paste porcelain, vitreous enamel, gold
bowl

Oval bowl on low foot.  Floral bouquets within oval cartouches outlined in gilding and cobalt. Gilding at rim and foot.
Sampler
, 19th century
wool and straw embroidery on cotton foundation Technique: embroidered in cross, half cross, satin, roumanian, back, rococo, fishbone, knot, and running stitches on plain weave foundation

Eighty patterns arranged on a narrow width. One pattern is in raised work.
Sidewall
, 1900–1920
Machine-printed

Swirling blue foliage with blossoms and berries. Printed in gold and creamy yellow on off-white ground.
Flounce
, early 18th century
linen Technique: needle lace, 6-sided reworked ground

Flounce fragment in an elaborate candlestick pattern. Design elements emphasized at intervals by tiny, three-dimensional motifs.
Sidewall - sample
, 1906–1908
Machine-printed paper

Stylized floral stripe; groups of three roses, in mosaic or stippled design, on spotted background. Printed in light red on deep red plaid background.
A Cavalier (Proof)
John Leech, English, 1817 - 1864, 1865
Chromolithograph on paper, mounted on heavy paper
Chromolithograph

House, left, overlooking a beach and rocks. Four girls on a small balcony, others at a window. A young man on a pony below, right. Title and comment, artist's and publisher's names and date below.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Full-length sketch of male figure in costume holding flowers.
Equipment Used for Spinning Silk
Louis-Jacques Goussier, French, 1722 - 1799, ca. 1775
Engraving on paper
Print

Equipment Used for Spinning Silk.
Sample book
, ca. 1834
cardboard, paper, cotton Technique: block and roller printed on plain weave

Oblong book with blue cardboard covers contains 46 samples of printed cotton; two have been cut in half.  Six individual patterns balance duplicates. Designs are small scale, printed mostly in bright red, blue green, and dark brown. Probably combination roller and block-printing.  No selvage.
Border
, 17th century
linen Technique: bobbin lace (early Valenciennes ground)

Border of white bobbin lace with a design of a tightly curling vine with large, flattened flower heads. Symmetrical arrangement.
knife
, 18th–19th century
silver

Knife has pistol shaped handle.