biglam/cooper-hewitt-alt-text huggingface dataset:
Sidewall
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

Covered in a small tan vining foliate pattern. Background of white and white mica dots. Ground is light yellow beige. Printed in right selvedge: "HOBBS. BENTON & HEATH" "1475"
Sampler
, 1702
linen, silk, metallic Technique: embroidery on plain weave

Alphabets, patterns, and verses in narrow bands.
Table frontal
, 18th century
silk, metallic yarns Technique: plain weave with discontinuous wefts (tapestry or kesi) Label: silk and metallic tapestry or kesi

Table frontal with a rectangular border at the top and long rounded tabs at the sides. Red-orange silk ground with design of dragons, flowers and symbols in gold and colored silks.  The border shows two dragons, figures in a landscape, and cranes.  Bound with brocaded ribbon and backed with blue cotton.
Sketchbook Page: Ye Night Mare
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of the skeleton of a horse.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On beige ground, scrolled red treillage with circular medallions at interstices composed of round green circles, inside which are scalloped shapes in light blue containing small cluster of yellow and white flowers.
Panels
, 19th century
silk Technique: painted

Eight small panels painted with various Chinese scenes on a black ground.
A) Reedy branch with three pink flowers and buds, two brown birds.
B) Orchids and leaves in white, pink and green.
C) Pink and white flowering branch.
D) Red and white roses on branches.
E) Two white swallows of pink cherry blossoms
F) Arcs of pink bell shaped flowers.
G) Yellow flowers and brown and blue flower.
H) White flower and closed buds.
Design for a Painted Porcelain Plate, Le Capricorne (Capricorn) from le Zodiac Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown, black ink, brush and brown, black wash, white gouache, pink, tan watercolor, red crayon, graphite on cream laid paper mounted on cream laid paper, image bordered in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene inside a barn.  Figure of a man lying on the ground, center middleground, leaning on his left arm, while holding his head with his right hand. Two wine bottles are next to him, his hat, right foreground, is to his left. Behind him a goat in his stall nuzzles the back of the man's head.  The man exclaims, "Who is tickling me there?"  An amorous couple, left background, stand in the doorway.
Hand Mirror
, Second half 19th century
Molded vulcanized rubber, mirrored glass, gilt metal

Oval hand mirror consisting of molded galvanized rubber handle and back, the straight handle simulating entwined branches and the back decorated with a griffon, bird and foliage. Beveled oval mirror with narrow gilded metal surround.
Vase
M. Louise McLaughlin, 1847 – 1939, ca. 1903
Porcelain

Molded porcelain body decorated underglaze with mottled blue and green. Clear, semi-matte glaze.
Band
, late 16th century
linen Technique: embroidered

Band of white linen embroidered in light brown with a pattern of a branching trunk.
Jockeys on Horseback
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite, charcoal on tracing paper
Drawing

On curved irregular sheet, three pairs of jockeys on horseback, the figure at left riding a bucking horse. At lower left, a pilcrow symbol.
Sidewall
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper

Floral stripe pattern, with band of red roses on stems alternating with simulated lace bands. Small red rose buds appear in center of lace bands.
"Speak No Evil, See No Evil, Hear No Evil"
Paye & Baker Manufacturing Company, American, 1901–ca. 1965, ca. 1900
Silver
Matchsafe

Rectangular, rounded sides and corners, featuring raised decoration of 3 seated monkeys, with hands over mouth, ears, and eyes, inscribed beneath each respectively "Speak No Evil", "See No Evil", "Hear No Evil", all framed by decorative cartouche. Lid hinged on side. Striker on bottom.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Repeating pattern of acanthus scrolls, printed in green and white with a metallic gold outline, on pale green ground.
Title Page, from Nouveaux Livre de Parterres (New Book of Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Landscape architecture design for garden.
Long sarong
, 19th century
silk, metallic threads Technique: embroidered on plain weave

Textile, probably a sarong, of dark red ground with blue plaid all-over design showing small pattern of metallic embroidery. Wide border shows geometric lattice design.
Design for a Candelabrum.
, ca. 1855
Pencil, ink, watercolor, tempera colors on tracing paper
Drawing

The body of the lamp is a blue porcelain vase with an oval central field depicting a pair of figures against a light background, enclosed in a narrow gold frame.  Mounted on a bronze base, surmounted by a candelabrum in the form of branches with leaves and flowers, the candle-holder rising from the flowers.  Inscribed lower left: "Candelabra porcel. and Bronze a 9 bougies;" at lower right "hauteur 84c;" lower center: "No.70."
case
, 19th century
leather, paper, steel, Ibex horn, horn, quill

1985-103-276-a: Flat paper case for five implements covered with s...;     1985-103-276-b: Straight-sided blade with rounded ends, rounded bo...;     1985-103-276-c: Four tined fork, waisted shoulder, baluster-shaped...;     1985-103-276-d: Toothpick tapering towards both ends.50
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

Printed two borders across the width. Alternating large and small medallions. Petite stylized floral mtofis in upper background. Printed on checkered or mottled background.
A Shell in the Rebel Trenches
Winslow Homer, American, 1836–1910, January 17, 1863
Wood engraving in black ink on paper
Print

A shell bursts in the trench, in the background. A group of men throw themselves on the ground, while another, at right, raises his shovel. Two men, and an officer, stand at left.
Fragments
, 18th century
cotton Technique: mordants for madder colors hand painted; blue immersion dyed over resist; yellow applied by brush over blue for green; chintz on plain weave

Chintz textile with symmetrical floral pattern in red, blue, green and yellow, with speckled purple background.
Design for Doorway, Possibly for Lobby or Vicinity South of Dining Room
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor, pen and ink on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Design for a section of a wall with double doors decorated with a painted design of lattice-work. Above the doors a painted tablet bearing Chinese characters. The narrow panels on either side of the doors have painted designs of lattice-work, and narrow columns at ends of the wall.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sampler
Elizabeth Muns, English, 1764
silk and metal-wrapped silk embroidery on wool foundation, linen tape Technique: embroidered in cross, satin, back, tent, half cross, and double running stitches on plain weave foundation

Vertical rectangle with alphabet, text "My God Permit My Tongue With Joy to Call The Mine And Let My Youthful Cries Prevail To Taste Thy Love Divine Lord Give Me Wisdom To Direct My Ways I Beg Not Riches Nor Yet Length of Days" then tree with woman and animals, flowers and signature, all withing curving floral border.
Border
, 1500–50
linen Technique: grid of withdrawn element work with needle lace, reticella style

Single band composed of geometric motifs in alternating repeat pattern bordered by small triangular pendants.
Sketchbook Page: Seated Figure with Instrument
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of seated figure, possibly playing an instrument.
Ocean with Rocks and Cliffs
William Trost Richards, American, 1833–1905, late 19th century
Graphite on dark cream-colored paper, lined
Album page

Sea with waves, distant rocks and cliffs on the right.
Sidewall - fragment
, 1850–1900
Block-printed

Small floral bouquets surrounded by diagonal rows of petal or leaf motifs, arranged in groups of three. Behind this are thin yellow lines, also in groups of three. The paper is very thin and has a glossy look, similar to book paper.
The Quincy
Thomas Strahan & Co., Manufactory, 1908
Machine-printed paper
Sidewall

Full width with nearly two repeats of design. Large clusters of flowers and wind-blown foliage, with space-filling scrolls of foliage and single flower-forms on smaller scale. Irise or rainbow ground varies from blue to yellow and back to blue, in vertical stripes. Printed in white on ground of blue, green and yellow.
Design for an Earring
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1765
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for an earring; the right edge cut irregularly. Earring consists of a bunch of flowers with a round blossom on top, three drop-shaped blossoms hanging down, and three smaller blossoms at center.
Antique Chair with Bacchic Themes
, ca. 1800
Pen and gray ink, brown wash, over graphite on white laid paper
Drawing

View of the throne from an oblique angle. Throne back is a square form decorated with the Bacchic symbols of grapes and musical instruments. The arms and forelegs of the throne are in the form of winged lions, whose wings transform to volutes with beadwork. Between the legs are two masks flanked a vase with lion handles.  The seat back is decorated with the hide of a boar, possibly that of the mythological Calydonian Boar.
Stage Design, Interior of Barn
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of wooden barn with beam roof and stove. Staircase in background leads to exposed upper level.
Plate 27, from Grotteßco: in diverßche manieren
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel. In center, a woman riding on a camel holds a crown and a laurel bough.
Three Saints, the Virgin and Child in the Clouds
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The three saints in religious habits kneel on the floor, with pillars beyond. Between them, in smoke, an angel is drawing up souls. Above their heads, the Virgin sits on a cloud, with Christ beside her and putti around. She reaches down to the saints.
Stage Design, Interior of Oriental Temple
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Vertical rectangle. Temple in Islamic style with three figures worshipping in prostration, one bowing on rug.
Textile
, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave with further color added by brush

Alternation of four scenes; birds in rushes approached by a dog, pair of lovers, man picking fruit with farm animals at the base of a tree, three women and a boy raking hay.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1821
Cast bronze
Medal

Bust of Jacques-Étienne Montgolfier (1745 -1799).
Face de Salon de Croisée
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design and plan of the facing wall of a room, with three doors and interspersed with sofas and chairs. The plate is signed and numbered.
Strasburg Woman
Wenceslaus Hollar, Bohemian (active England),1607–1677, 1643
Etching on paper
Print

Signed at lower left: "W. Hollar fecit/Londini 1643"
People Leaving the New Theater, Amsterdam
Hubert Sihoute, 1775–1787
Engraving on paper
Print

Horizontal rectangle. The crowd leaving the theater through a door, filling the place outside. Two soliders stand in the doorcase. Three carriages and a sled are shown. Lanterns burn. The waning moon appears at left. Second state of the engraving. Caption: "DE NIEUWE SCHOUWBURG BY HET VITGAAN," in 1786./ P. Conradi en V. v. d. Plaats excud. 1767."
Stage Design, Room in the Palace of Titus for the Opera "La Clemenza di Tito" by Mozart
Romolo Achille Liverani, Italian, 1809 - 1872, 1818–19
Pen and black ink, brush and gray wash on white laid paper
Drawing

Horizontal rectangle. Interior of vast hall decorated with pictures on walls in architectural setting.
Two Circular and Octagonal Painting for Ceiling: Deeds of Alexander the Great
Felice Giani, Italian, 1758–1823, ca. 1795
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Alexander swings his sword to cut Gordian knot, wound around shaft of chariot. Flanking with two Victories facing each other, left one carries panoply, right one globe.
Mixed Sketches, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, 1878
Graphite on white wove paper; verso: graphite
drawing

Mixed sketches from Lake Millinocket, Maine, showing, at upper left, a standing figure paddling a canoe, a fallen tree beside another trunk at upper center, a long, submerged boulder below it at center left, while at center right, a cedar tree with several stones at its base is shown leaning slightly to the left. 

Verso: Atmosphere and landscape sketch showing a view of a dynamic, cloudy sky over Lake Millinocket in Maine. Along the lower margin, the surface of the lake is shown bounded by distant mountains that form a rolling horizon in the background. Above, a chaotic mixture of puffy clouds are variously illuminated, likely by the light of the setting sun.
Tequendama Falls near Bogotá, Colombia
Frederic Edwin Church, American, 1826–1900, June 20-30, 1853
Graphite, white gouache, and oxidizing white gouache on tan wove paper
Drawing

Landscape sketch showing a view of Tequendama Falls near Bogotá, Colombia. In the immediate foreground, a tree stump, ferns, and other vegetation are visible along the lower margin, while beyond them at left, a sheer, rocky cliffside is strewn with bushy foliage. Prominently situated in the middle distance at center, the Falls of Tequendama pour immense quantities of water over their edge, which then kick up a billowing plume of mist that drifts up and to the right. The foaming waters of the Bogotá River cascade over a rocky riverbed as they move towards the foreground at lower right. Beside the Falls, in the middle distance at center right, the rugged, vertical cliff that helped created the falls extends out of view to the right. Dense jungle is visible atop the cliff rim, while a heavily wooded hill is included in the background beneath hazy clouds. Clouds, water, and mist rendered in white gouache.
Candelabrum
, late 18th century
Graphite, pen and ink on paper
Drawing

Candelabrum motif. Square plinth decorated with ram heads and swags. Above, an angel holds a aloft a wide-lipped plate. At top, a baluster form decorated with acanthus leaves. Smoke rising out of top.
Design for a Cartel Clock Case for J. Thuret, clockmaker to Louis XIV
Gilles-Marie Oppenord, French, 1672–1742, c.1700
Pen and black ink, brown ink, brush and watercolor on off-white laid paper, lined
Drawing

Wall clock with trophy above including a scythe and snake coiled around a globe from which is suspended a bust in profile and an allegorical figure below holding a torche and a cock seated on a bracket decorated with two rams heads on either side.
Coast of Newfoundland or Labrador, Canada
Frederic Edwin Church, American, 1826–1900, July 21, 1859
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of the rugged coastline of Newfoundland or Labrador in Canada. Seen from across rippling ocean waters that comprise the foreground, the dark brownish-purple, mountainous coastline stretches across the middle of the composition, remaining somewhat the same height throughout. Above, soft clouds are illuminated by the red light of the setting (or rising) sun, while other darker and cooler clouds hang below. The sky is otherwise a gradient from turquoise to yellow.
Escutcheon with arms of Ferdinand I de' Medici, Cardinal and Grand Duke of Tuscany
Jan van der Straet, called Stradanus, Flemish, 1523–1605, late 1580s
Recto: pen and ink, brush and brown wash over black chalk on laid paper Verso: pen and ink over black chalk on laid paper
Drawing

Recto: Oval design for an escutcheon with the coat of arms of the Grand Duke Ferdinand I of Tuscany (1549-1609).  At center is a globe with six Medici palle superimposed, and Italy visible within. Surrounding the globe are Minerva at left and Hercules with a lion at right. The figures reach up to support a crown. A cardinal's hat is above, its cords hanging through the crown.  
Verso: Variation on the recto design, with more detail in the framing elements.
A Satyr Boy Playing Flute, A Girl with Cymbols, a Woman with a Book
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Black chalk, brush and brown gray watercolors on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Mantua. A satyr boy playing flute, a girl with cymbols, a woman with a book, shown from below behind a hedge. Framed by a garland.
Ornament Design with a Heraldic Achievement
Jean Berain, the elder, French, 1640-1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

To the right, a design for a heraldic/armorial achievement with a blank coat of arms and a helmet above with scrolling foliage surrounding it. To the left, a design for the lower section of a torchère or a similar object, featuring scrolling foliage, masks, leaves, egg running pattern, and talons for feet. The plate is signed and numbered.
Four Mask (Mascaron) Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Four designs for grotesque satyr masks (mascarons) with fantastical features, male faces with beards, pointed ears, horns, shells, textiles, and headpieces. The plate is numbered.
Les Fruits de l'Automne, from "Livre Nouveau de Douze Morceaux Fantaises Utiles à Divers Usages"
Charles-Nicolas Cochin the younger, French, 1715–1790, ca. 1740
Engraving on paper
Print

Figures sleep of a bacchanalian revel in the foreground. Behind, right, a large grapevine, and center, beyond a wine cellar, a large rocaille fountain approached by a flight of steps.
Ewer
, 17th–18th century
Glass

Light green; vessel with long flaring neck and slightly pear shaped body with tear drop shaped relief along base. One handle of applied glass and long upturned spout.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, ca. 1736
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features arms and armor, intertwined with a crown, feathers and ribbons, hanging from a tied ribbon from a decorative bracket. The plate is signed.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel of grotesque ornamentation with thin vertical borders on either side. The central composition features strapwork, terms, medallions, birds, and garlands. The plate is signed and lettered "G."
Stage Design, Loggia with Fountain in an Oriental Palace
Romolo Achille Liverani, Italian, 1809 - 1872, 1828
Pen and sepia ink, brush and wash on paper
Drawing

Horizonal rectangle. Portico with fountain, palace in the background.
Design for a Tureen
Caspar-Gottlieb Eisler, German, active 1707–1755, ca. 1750
Etching and engraving on laid paper
Print

Design for a lidded tureen in a rococo style of metalwork, decorated with shellwork, acanthus leaves, grapes, and fruit on two feet shaped in the form of acanthus leaves and fronds. A boar's head and a sheep are sculpted on sides with a bird and hare incorporated within the body and lid of the tureen. A cartouche in the middle is lettered with the number 65. Two plate numbers on each top edge of the plate, with the name of the artist and publisher lettered below.
Urania, Muse of Astronomy
Felice Giani, Italian, 1758–1823, ca. 1805
Black chalk on laid paper
Drawing

A walking woman, seen from behind, holding a ball in her left hand.
Companion of Ulysses Transforming into a Hog
, ca. 1650
Black chalk, pen and ink, brush and wash on paper
Drawing

Reclining figure shown from the back, raising right arm. Partially concealed head of a hog.
Design for a Fountain
, 1768
Pen and ink, brush and blue wash, graphite on paper
Drawing

Circular bsain into which the water pours from masks in the top center of a base which is also decorated with reliefs of source and water dishes. A pedestal with an urn, the handles of which are formed by dolphons, stands on the base. The front side of the pedestal shows the royal French coat of arms.
Portrait of Guillaume Thomas Raynal (1713-1796)
Francois G. Lardy, ca. 1790
Engraving on paper
Print

The portrait, shoulder-length, is in three-quarter view towards left. It is inserted in a circle with a simple frame, which is surrounded by a vertical rectangular field to which is fastened a plaquette, under the portrait, isncribed: "Guillaume Thomas Raynal"; lower right: "F.G. Lardy Direx."
Pico de Orizaba, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing an isolated view of the volcano Pico de Orizaba (also known as Citlaltépetl) in Mexico. Situated in the distance at center, the mountain's sharp, conical, and snow-capped peak is prominently visible, with dark, ridged flanks. Composition devoid of a foreground. 

Verso: Botanical sketches showing two loosely rendered views of trees in Mexico. At left, three large branches of a tree are shown with dense leaves, while at right, a tree with an overhanging branch that grows horizontally is loosely and almost indistinctly sketched.
Chandelier d'autel
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a candlestick for an altar decorated with ornament motifs including rinceaux, cherub heads, and scrolls. The plate is signed and numbered.
Buirre pour les Évèque
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a ewer decorated with ornament motifs including scalloping, bound leaf, rinceaux, branches, and gadrooning. The plate is signed and numbered.
Study for Curling Acanthus Ornament
, 18th century
Pencil on paper
Drawing

Ornament sketch with large, curving acanthus leaves and other vegetal designs.
Vulture Killing a Hare
Gilles Demarteau, Flemish, 1722 – 1776, 1765–1770
Crayon-manner engraving in red ink on paper
Print

A culture lands on the back of a hare, while another hare flees to the left. Insribed below with engraver's and designer's names. From: "Premier livre d'Animaux …", planche 3.
Design for Two Chairs with Alternative Suggestions
, 1760–65
Pen and black ink, brush and gray wash, graphite on paper
Drawing

In the center, a chair with a convex upholstered seat is shown from the front. The left leg of the right design serves simultaneously as the right foreleg of central design. The frame of the back is suggested. Upholstered entirely or with pierced lower corners; left, a right leg of different design; right, an armchair shown in profile. The seat and the arm show upholsterings, the frame marquetry. The scale is below.