biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Sideboard/Serving Table of Mahogany and Inlay
A.N. Davenport Co., 1900–05
Pen and black ink, graphite, on thin cream paper
Drawing

Narrow rectangular sideboard/serving table on four straight, tapering, fluted legs; cabinetry section has serpentine front with two horizontal drawers, each with pair of pulls and inlay designs at corners; patera medallion design on center of backsplash; hanging floral designs on top of front legs; separate shelf in same outline as top section slightly above floor level.
Design for a Round Table on Plain Legs
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Round table top with a dividing stretcher running across center is raised on four plain straight slightly tapering legs.
Textile
, late 18th century
cotton Technique: printed by engraved plate on plain weave

Design of a costume party with people in fantastic clothing held in a massive hall or temple. In red on off white.
Design for Sideboard with Brass Rail and Rounded Corners
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Sideboard with six tapered straight legs; double brass railing along top back; two small drawers over one larger drawer; a medallion design on each of rounded front corners.
Textile
, late 18th–early 19th century
silk Technique: 7&1 satin patterned with areas of plain weave and twill

Circles of flowers, ferns and acanthus leaves in white and faded aqua.
Group of Thirteen "Disheveled Birds" Plates
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1758–1769
soft paste porcelain, vitreous enamel
plates

1962-218-1/13: A group of thirteen plates painted with tropical o...;     1962-218-1: Scalloped edge with green feather motif. Fluted ca...
Sampler
Unknown, 1806
silk, linen Technique: embroidered

Embroidered sampler with a stylized floral vine border. Spot motifs of trees, flowers, a basket of flowers, pineapples, birds, and stags in two sections fill the central area. Initials TC MC EQ run across the center. Inscription above reads:

Loving Jesus gentle lamb
In thy gracious hands I am
Make me saviour what thou art
Live thyself within my heart
I shall then shew forth thy praise
Serve thee all my happy days
Then the world shall always see
Christ the holy child in me
Sidewall
, ca. 1880
Machine-printed on paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-co: Regular symmetrical pattern vaguely reminiscent of...
Embroidered picture
Unknown, ca. 1650
silk, wool, metal sequins, seed beads, mica, and metal thread Technique: embroidered on satin weave

Stumpwork picture of a woman standing under an arched canopy of flowers. Background has trees, flowers, a large building, and various insects. Rocks, grass, and small hills fill the foreground.
Fragment
, 19th century
silk Technique: compound satin weave

Woven fragment has a wavy trellis pattern with checkered and dotted bands enclosing dahlia-like flowers on short curving stems. In weft floats in shades of maroon and off-white.
Two Studies of a Bowing Man (Christopher Columbus)
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Study of Christopher Columbus for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
An Urn and Bowl in Eschutcheon, from "Fontaines, Cuvettes et Cartouches"
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

A: = Jombert 106, 4 but with the address ''le Blond'', which replaced an earlier one. Without ''4''. B: = J. 10, 4, but with the address ''le Blond.''
The Embarkation of the Princess of Wales
, ca. 1730–1750
Engraving on paper
Print

A flagship and numerous gunboats salute two Royal barges, one bearing the Princess of Wales. A tuch landscape in the background. Inscribed in lower margin: "The Embarkation of the Princess of Wales […?]."
Altar
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

An altar in the form of an aedicula with a simple base and entablature supported by Corinthian columns and pilasters. Over the altar an arched frame for a painting. The altar front is decorated with a cross. Above the pediment a pair of sculpted angels, one with a cross. Below, a groundplan which indicates alternative schemes for the columns: the one at left detached, and the one at right attached.
Noah's Ark
Jan Sadeler, the Elder, ca. 1550 – 1600, 1657
Engraving Support: white laid paper
Print

Horizontal format; the Ark is in the background, left, with animals and birds converging on it; figures in the foreground also moving toward the Ark; buildings, righ. (EMB '54)
Panel fragment
, 18th century
silk, metallic yarns, parchment Technique: embroidered in satin and knotted stitches on plain weave over parchment shapes

Symmetrical Rococo design of silver gilt arabesques and cartouches, combined with naturalistic flowers in polychrome silks, on ivory silk ground.
Exterior of Westminster Hall
Ernest Clifford Peixotto, American, 1869–1940, 1899
Brush and grey watercolor, white gouache on cream wove paper
Drawing

The entrance to the palace, left. At right, statue of Oliver Cromwell. Man feeding birds, in foreground, right.
Sample
, 1883–1918
Brass

engraver's sample for button
Fragment
A .G. Jennings & Sons, American, ca. 1884
cotton Technique: machine made lace

Alençon-type with a net ground, scattered leaves and floral border.
Book 9 May 1878
Old Pacific Print Works, Lawrence, MA, USA, 1878–79
leather, paper, and printed cotton textile samples
Printer's sample book

Small leather-bound book with printed textile samples. Mostly small-patterned florals and geometrics and some cretonne cloth. Predominantly browns, grays and blues.
Vulcano forging the Thunderbolts of Jove
Felice Giani, Italian, 1758–1823, 1811
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Vulcan kneeling in right foreground, raises hammer; he holds blade with tongs. Mars and Minerva stand at left, looking on. Cupid raises one thunderbolt with his right hand and holds another with left hand.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1823
Black chalk on laid Paper. Inscription in black chalk

At left: Charity, a woman with head o flame is seated and holds two seated children and a standing child in her lap. At right, top: Hope, a seated woman, leans her left hand upon a three pointed anchor and holds a young tree in her right hand, the rop of which surrounds her head. Separated by a line, bottom: Faith, seated beside a pedestal, the front of which shows a cross, leans her right elbow upon it holding a chalice at which she looks. the right hand lies upon her breast.
Cap crown
, 18th century
linen Technique: bobbin lace, Brussels style

Cap crown worked with a centralized motif with branching leaves suggesting a fleur-de-lis.
Figures on a Stone Bridge
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

Three figures are seen on a stone bridge, across a small canal, while another approaches from the left. A man in a skiff, right foreground.
Bedcover
, 18th century
silk, gilded paper on silk core, metallic thread Technique: embroidered on satin weave

Large bedcover of white satin embroidered in allover floral pattern in brilliant colored silks and metallic thread. Design, symmetrically arranged, shows curving vines, flowerheads both flat and in profile, around a large cental motif of a series of half circle and petal-shaped forms. Brilliant long tailed birds in foliage; a wide border of vine and flower design. The work is in long floating stitches of silk thread couched down with metal or silk; each element edged with gold thread, which appears to be gilded paper around a silk core. Stems of gold thread couched down. Cover consists of four pieces of silk and is lined with thin, faded pink Chinese silk in a geometric design.
Marie
J. Carroll Beckwith, American, 1852–1917, 1904
Pastel and graphite on paper
Drawing

Sketch of a young female figure looking down. Hair braided and coiled on top of head. Indication of dotted material in shirtwaist.
Necklace
, 500–800
gold

Small gold beads, cast, in different shapes and sizes.
Bag
, 1000–1400
agave Technique: knotted netting

Pouch with all-over chevron pattern, three triangles at each side, in knotted netting (close-set knots form pattern). Twisted cord gathers it around edge. undyed. Dark tan.
Red Cross Nurse
Childe Hassam, American, 1859–1935, 1918
Lithograph on paper
Print

A Red Cross nurse sits at a table, facing frontally, her head turned to the left.
Fringe
, 17th century
silk Technique: woven

Green, pink, yellow, blue and white fringe with a checkboard heading, trellis band pattern and skirt threads arranged in stripes.
Swaddling cloth
, late 19th century
cotton Technique: predominantly warp-faced plain weave patterned by warp floats

Four narrow cloths, patterned white on white, by a continuous floral vine, repeated every 7 1/2''. Each cloth folded to triangular point at one end with ties attached.
Mataafas Men Making
John La Farge, American, 1835–1910, October 1890
Graphite on paper
Drawing

Leaf from a sketchbook. Two seated figures working with mortar and pestel. A standing figure beside them. In the distance, a figure in a boat.
Fragment
, ca. 1740
silk Technique: plain weave with supplementary warp patterning and discontinuous supplementary weft patterning (brocaded)

Fragment of silk brocade with sprays of flowers in blues, greens, yellows and soft reds, with white, lace-like scrolls on a coral ground. In the Rococo style.
Mount
, ca. 1805
Gilt bronze

Winged female sphinx facing right with acanthus leaf crown from which springs an ancanthus-like flower, a tall symmetrically leafed and berried stem and a long spiraled leafed stem ending in a rosette. Sphinx's tail is an elongated acanthus leaf ending in a double spiraled stem, each of which terminates in a rosette. Seven screw holes and two small threaded projections under feet for attachment to wood. End broken off center stem projecting from crown.
Picture
Gaspard Grégoire, French, 1751–1846, ca. 1800
silk Technique: warp-dyed velvet

Picture in velvet of "The Madonna of the Chair" after the painting by Raphael.
Cover
, 1800–1850
linen, silk Technique: embroidered

Circular motif of birds and flowers placed in center; inscriptions and eight vases with flowers surround it. Border of flowers and birds.
Miniature Chest of Drawers containing Plaster Seal Impressions
, 1840–1860
wood, velvet, metal, plaster, paper
chest and plaster seal impressions

Miniature chest of drawers, rectangular, with chamfered corners, molding around bottom, top. One wire ring pull at center of each velvet-lined drawer. Containing 150 plaster impressions of seals, the majority depicting classical figures, edges wrapped in paper edged in gold. Leather-covered "catalogue".
Textile
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1795
cotton Technique: copperplate printed on plain weave

Copy of the Jouy fabric "Scenes Flamandes." The figure in the fabric face is the opposite direction as the Jouy fabric.
Child Wearing a Cap or Crown
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a child's head, wearing a crown or cap, after A. Watteau. The young child is in profile, wearing a crown or cap, with shoulder-length hair. The plate is numbered and signed.
Ornament Vignettes
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Sheet printed with two plates. The left plate depicts Venus born upon a cloud surrounded by arabesque ornamentation including reeds, putti, a trellis, doves, dogs, branches, and monkeys (singeries). The right plate is a vignette, first state, of a woman seated under a tree; next to her is a farmer leaning on a space. The scene is surrounded by vines. Both plates are signed.
Brisé fan
Sarah Cooper Hewitt, American, 1859–1930, 18th century
Pierced bone sticks, silk ribbon

Brisé fan with pierced yellow bone showing repeating vine motif.
Acorn
Morris & Co., London, England, 1880
Block-printed on paper
Sidewall

Acorns and oak leaves interspersed with a vine and flowers.
LE THEATRE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation framing a central vignette of well-dressed figures playing music and lounging in a stepped landscape with fountains; at left, are a group of Commedia dell'arte figures. At the center of the steps is a mascaron spewing water into a basin with cat tails and swans. The scene is framed by branches, garlands, a rose wreath, and scrolls, on top of which sit monkeys playing music (singeries). The plate is signed. This plate is a variation of 1921-6-224-55, with the addition of the Commedia dell'arte figures.
Fragment
, 1750–1800
cotton Technique: block printed on plain weave

Bow-tied flowering branch in polychrome on a black background arranged as a half-drop repeat. Seven colors include mauve, yellow, brown, blue, and two reds on black.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold gouache, green watercolor, graphite on cream paper
Drawing

Design for plate bordered with gold circular medallions with pendant flowers; in turn those have hanging flowers with 2 prongs against a light green ground; at center is a floral medallion with quatrefoil motif inside. Inscribed in graphite, upper margin: numbers and several tableware designs
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, textured, liquid mica

On light blue ground, medallion at center with scalloped gold edges with clusters of gray and white flowers; gold and floral gray rinceaux.
Peep-Show Picture, View of the Castel de St. Angelo and St. Peter's, Rome
, ca. 1790
Lithograph with brush and watercolor on paper, pricked
Peep-show print

Two small boats are seen in the Tiber. Figures silhouetted in them and in the left foreground. Full moon cut out. St. Peter's and lights on the Ponte S. Angelo pricked.
Four Nude Women (The Four Witches)
Albrecht Dürer, German, 1471–1528, 1497
Engraving on laid paper
Print

An interior with four nude women: one, with her back to the view, wears a laurel wreath crown; another, at left, is shown in profile, facing right; the two others are seen one behind the other, at right, facing the viewer. A demon at left.
Printing block
, 19th century
wood

Design of circular motifs and butterflies. Carving on both sides of the board.
Carter Dome from Carter Lake, New Hampshire
William Louis Sonntag, American, 1822 – 1900, ca. 1880
Brush and watercolor, ink, gouache, graphite on wove paper
Drawing

A bright winter landscape at sunrise or sunset.  A lake inlet in center foreground with low rocks at lower right and windswept rocks, brush and trees in left foreground into middleground.  Looming over the lake, in right middleground, a large ball-shaped mountain with remnants of snow a crevice.  An orange, yellow, and blue sky fills the upper left quarter of the sheet.
Sketchbook Page: Man Standing
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on blue-grey laid paper
Sketchbook folio

Sketch of standing man with coat and hat, shown from behind.
Ginger Jar
, 19th century
porcelain, vitreous enamel
jar

1977-40-8-a,b: Porcelain vase and cover with nature scenes and fl...;     1977-40-9-a,b: Porcelain vase and cover with nature scenes and fl...
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a seated woman, holding something in her lap.
Coca bag
, possibly 1200
wool Technique: warp-faced plain weave

Flat bag woven in stripes of red, green, yellow and brown. Hand sewn at sides to form bag. Red tassels at corners.  warp selvage for bag opening, reinforced by overcasting
Portrait Sketch of a Young Woman
Elihu Vedder, American, 1836 – 1923, ca. 1885
Black crayon, white chalk, on gray paper
Drawing

Bust-length portrait of a young woman, turned toward the right, her head shown full-face looking at the viewer.
Saint Peter and Saint Paul
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on laid paper
Print

The two apostles are shown walking toward the right, one carrying a large key at left (Saint Peter); the other a sword (Saint Paul). Indications of a wooden fence and a mountainous landscape in the background.
Ceiling paper
, 1905–1915
Machine-printed paper

Thick red C-scrolls that form bulbous crosses. Connecting the thick red C-scrolls to one another are metallic gold, red, and green floral designs with pin dots. In the negative space, between the repeating symmetrical bulbous cross decorations, are delicate green garlands that create a thin floral bow. Printed on a light tan background.
Dormer on Maison des Quatrans, Caen
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on light brown paper
Drawing

Wooden building, looking up at dormer from left of center. Above, smaller sketch of dormer seen from the same angle.
Sidewall
Allen-Higgins Co., 1890–1900
Machine-printed

A free imitation of moire silk. Printed in dark red on red.
Design for Berlin Wool Work, Spitz
P. Trübe, Berlin, Germany, ca. 1850
Brush and gouache over etching on blue-gray wove paper
Drawing

Embroidery design featuring a white Spitz-type dog, seen in left profile, lying on a red cushion, trimmed with yellow tassels.
Border
, 1900–1920
Machine-printed

Landscape vista as seen from balcony. Band of dentil molding across top, and rod and crossed ribbon across bottom edge. Printed two across.
Border
, ca. 1850
Block-printed

On white ground, orange cable molding or rope twist, outlined in black.
Wall pocket
, late 17th–early 18th century
silk, metal Technique: embroidered

Wall pocket with three pockets of rose silk, decorated with metal trimming laid on in high relief in symmetrical designs. Trimmed with looped fringe.
Jug
William Watts Taylor, American, 1847-1913, 1891
earthenware
jug

Gray-green earthenware, thrown, applied handle. Decorated with ghostly skeleton figure in a shroud, one arm upraised and holding a burning lamp. Figure in shades of ocher, pale brown, dark brown, and green. Background shaded in ochers, browns, and dark green. Exterior: glaze; yellow with aventurine effects.
The College des Quatres Nations, Plate 56 from "Vues Pittoresques des Princepaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

View of the court and entrance to the College of Four Nations; wagons and figures in the foreground. Title, artists' and publisher's names below.
Hyacinths, Solfatare and Mimosa, Plate 7 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Hyacinths, Solfatare and Mimosa" from A. C. Van Eeden's "Flora of Haarlem."
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Non-directional design of foliate sprigs and petite stylized floral motifs. Printed in shades of green and mica on off-white ground.
Architectural Details in Venice
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Top section of column, left. Roman capital, Lyon, center. Door frame, right.
A Black Girl
Samuel Ireland, English, ca. 1744–1800, 1786
Etching and aquatint on paper
Print

Portrait of a girl in frontal view facing right. Half-length, she wears a kerchief on her head. Illustration for Ireland, "Graphic Illustrations…" I, 169.
Frieze
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper

A repetitive design of urn-shaped medallions interconnected by scrolling acanthus leaves upon a beige ground to lower half of which is filled with gray and white pearls. Below, a scrolling acanthus vine in a wave-like pattern. Printed in beige, olive green, bronze, copper and gold.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a valley with a stream and hills in the background.
Sierras
The Schmitz-Horning Co., Cleveland, Ohio, 1905 - 1960, 1913–1914
Chromolithograph on paper
Scenic - panel

Landscape scene with mountain range in the background, trees and hills in the middle ground and rock formation and more trees in the foreground. Printed in earth tones and greens.
Ceiling paper
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper

Circle motif alternating with a motif of four crossed arrows. Printed in green and ocher on tan ground containing a rows of dashes.
Pleated fan and case
, ca. 1887
Silk leaf gilded and painted with gouache, embroidered with sequins, carved, pierced and painted mother-of-pearl sticks

Silk leaf painted with gouache. Obverse: three rocaille medallions outlined with gilt and colored sequins; central medallion contains landscape figures in Louis XV dress; either wide shows dark landscapes. Reverse: painted at sides with scrollwork. Iridescent yellow mother-of-pearl sticks, pierced carved and painted. Fan case has removable lid
Mouchoire d'Instruction Militaire No. 10
, ca. 1887
cotton Technique: printed by engraved roller on plain weave Label: cotton printed by engraved roller
Handkerchief

"Mouchoir d'Instruction Militaire No. 10" is the last in a series of ten instructional handkerchiefs meant for distribution to French troops in the late 19th century. This handkerchief provides instructions on methods of crossing streams. Printed in red and black on an off-white ground. 
The complete series consisted of:  
No. 1  Dismantling the 1873 model revolver
No. 2  Dismantling the 1874 model revolver 
No. 3  Signals and basic instruction for cavalry
No. 4  Instruction in packing for cavalry on parade or campaign
No. 4a (second edition) Dismantling the 1890 model carbine
No. 5  The use of the 80 and 90 mm cannon
No. 6  Basic military lore for the reserve soldier
No. 7  Health and safety on campaign
No. 8  Preparing for inspection and review
No. 9  Dismantling the 1886 model rifle
No. 10  Methods for crossing streams
Vase
, 19th century
Tin-glazed earthenware

Tall reeded, eight-sided vase, straight-sided base swells to bulbous body, long thin neck, small bulbous section top, flaring mouth; painted in underglaze blue on white with overall floral pattern, lambrequin border bottom, leaf border top of bulbous body section.
Two Long Tined Fork with Brass Panel Decoration
, ca. 1730
steel, brass
fork

Two long diverging tines, round shouldered. Shaped bolster. Continuous tang, exposed at sides, handle rectangular in section, curved beak end. Two cast brass scales, each with two panels of scrollwork, alternately with crudely engraved sections. Two rivets through scales and tang.
Design for a small library: front elevation, section, plan
Christian Francis Rosborg, 1881 – 1953, ca. 1905
Pen and ink, brush and watercolor, gray wash on paper
Drawing

Front elevation, above, of a small building in the classical style, standing on a podium. Center, a section through a side elevation, showing the vestibule, delivery room, and Stack room. Plan, below, and detail of order (Corinthian), left.
Drop Front Desk
Kimbel & Cabus, New York, New York, USA, active 1863–1882, ca. 1875
Oak, nickel-plated metal (probably bronze)
desk

Upright rectangular form of solid oak construction; surface covered with carved and incised decoration of naturalistic and stylized floral and vegetal motifs, and geometric patterns in neo-gothic style; upper section composed of drop front writing surface that opens to reveal drawers and pigeon hole compartments; lower section is a two door cupboard surmounted by narrow drawer; another narrow drawer with open shelf above forms top of desk, a highly carved figure of an owl on each side at front. Drop front, cupboard doors, and drawers fitted with patinated, elaborately cast ornamental strap hinges, lock plates, and pulls, probably nickel-plated bronze.
Band
, 1000–1200
Technique: complementary warps

Narrow woolen tape with simplified "S" repeats, sometimes turning into scrolls, sometimes with single curve; replaced 1/3 way through with strip of five diamonds with dot in center of each. Red on blue, one side; blue on red, others. At each end, strands loosely plaited for 0M450, then separated into two thinner plaits. "0M075" one end, "0M205" on other.