biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Mary A. Fox, 1814
cotton and silk embroidery on linen foundation Technique: cross, double-cross, eyelet and queen embroidery stitches on foundation of plain weave with paired warps and wefts

Square sampler worked in green, red, and black on a natural ground. Family record arranged in two columns listing dates of birth from 1722- 1831.  Three alphabets at the top and an inscription at the bottom: "Mary A. Fox's Sampler Done in the Year 1814."
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, textured

Scrolling acanthus motif with "S" curve alternates with rose bouquet with similar shape. Background shades from light tan at top to darker tan at bottom. Printed in metallic gold, red, and green.
Frontispiece: Della Magnificenza Ed. Architettura Dei Romani
Giovanni Battista Piranesi, Italian, 1720–1778, 1761
Black Ink on Paper
Print

Vertical rectangle. Frontispiece to the plates. Title, above on a stone: "DELLA/MAGNIFICENZA/ED. ARCHITETTURA/DE' ROMANI/OPERA/DI.DIO. BATTISTA PIRANESI/SOCIO.DELLA REALE/ACCADEMIA/DEGLI.ANTIQUARI/DI.LONDRA." At upper left, and below: arms, insignia, standards, eagle, prow of a ship. Signed in plate, lower right.
Study for panel of the Tribune
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Study for the panel of the Tribune
Design for Wallpaper and Textile: Flowers
, 19th century
Brush and gouache on brown paper, lined
Drawing

Clusters of daffodils and white flowers with grasses on light gray ground.
Sidewall - fragment
, 1775–99
Block-printed on handmade paper

Fragments of two lengths, badly matched. Medallions of black and gray wreaths and black stylized flowers in diagonal pattern on an unbleached paper ground with a diagonal pattern of white rice grain shapes. Printed on sheets of paper.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Cluster of pink and red flowers with foliage at center of page. Four clusters surround this one, from top clockwise: small pink flower facing downward, white and pink cluster facing downward, pink cluster facing upward, single white flower facing downward. Guidelines are visible on page in graphite, divide the page into four quadrants.
Canopy
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, graphite on off-white coarse laid paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation showing the upper sections of the columns supporting a pagoda-like roof, truncated at top.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Branch with a cluster of ripe plums and caterpillars
Mrs. Smith, ca. 1830
Watercolor
Drawing

Botanical study from nature.
Sadlers Wells Theatre, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Theater seen facing the stage from the rear. Balconies and floor filled people. Neptune in his chariot and horses, in water, on stage. Title, artists', and publisher's names below.
Fragment
, 16th century
silk on linen Technique: embroidered on plain weave

Band fragment with a design of geometric leaves in yellow silk on a linen foundation.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine printed paper, ungrounded, liquid mica

Alternating large and small acanthus scrolls, connected by scrolling acanthus. Circluar motif around each of the smaller scrolls.
Folding Fork with Engraved Floral Decoration and Lion Cartouche
, ca. 1700
silver
folding fork

Fork has four curved tines, curved shoulders. Flat handle flaring towards the end. Hinge and small sliding band. Handle has engraved floral decoration on front and back, with a lion in a cartouche on the back of the handle.
Sketchbook Page: English Ivy Leaves
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Three large ivy leaves, with a study of one smaller leaf to the right.
Verso: Two leaves of a bleeding heart on a stem.
Carpet fragment
, 1850–75
wool Technique: double cloth

Allover interlocked cartouche grid containing geometric flowers and leaves in solid red and areas of red, ivory and yellow on a mixed yellow and ivory background.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper

On light gray ground, scroll motifs, one with white feathers encompassing scalloped medallion in gray, alternating with gold motif, joined by pearl-like lines. Two borders printed across the width.
Lock with turn key
, 17th century
Steel

Barrel form lock chamber with hinged loop lock.
Bib fragment
, 16th–17th century
linen Technique: grid of laid cord with needle lace, reticella style

Bib-type fragment with four radiating circles within a grid format.
Border
, 1905–1915
Machine-printed paper

On brick-colored ground, gray-green spirals of leafy rinceaux with large blossom at center; scalloped border filled in orange-brown.
Portrait of a Young Man
Giuseppe Sabatelli, Italian, 1813–1843, 1820–40
Black chalk on cream paper
Drawing

Quarter-length portrait of a young man with wavy dark hair, facing one-quarter to the right, his gaze directed frontally. He wears a high collar and rests his left forearm on the back of the chair in whch he sits.
Study of Female Nude
Elihu Vedder, American, 1836 – 1923, ca. 1885
Black crayon, white chalk, on gray paper
Drawing

Full-length figure of a nude girl, standing, turned slightly to the right. Her right hand holds a wand-like object. The paper has been torn away below, cutting off the feet at the ankle line. Reverse- sketches of head of girls.
Christ Carrying the Cross (Road to Calvary), from series The Passion of Christ
Martin Schongauer, German, 1450–1491, ca. 1485
Engraving on laid paper
Print

Christ is shown in the center of the composition, carrying the cross. He moves toward the right, followed by a large crowd, and preceded by a man holding a rope attached to the waist of Christ.
Maquette for sitting room with large bay
McMillen, Inc., 20th century
Brush and gouache on cream wove paper
Maquette

Maquette for sitting room with large bay; walls in white with gold details.
Fauteuil Siamois, "Collection de Sieges," no. 60, in La Garde-Meuble (The Storehouse)
Désiré Guilmard, French, 1810–1885, 1839–85
Hand-colored lithograph on cream laid paper
Album page

Design for a Siamese-style armchair with blue upholstery and gold-colored wooden frame.
Standing male figure in chiton
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing male figure wearing robes and holding up a kylix or drinking cup in his left hand. He looks at the cup. His right arm hangs by his side.
Plate 6, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants with strapwork. At left, two Cupids with arrows flank a central hunt scene. Above, a mask and garland of fruits. Below, a drop pearl. At right, pairs of ignudi, masks, and baskets of flowers flank a central scene.  Below, a faceted drop gem.
Illustration for Hamlet: Hamlet Tries to Follow the Ghost of his Father (I,4)
Eugène Delacroix, French, 1798 - 1863, 1835
Lithograph on paper
Print

Hamlet Tries to Follow the Ghost of his Father (I,4)
Monstrance and Crystal Cover
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Brush and gray ink, graphite on off-white laid paper
Drawing

Five sketched of monstrance elevations. Initials repeated above.
Fort on the Water, Ecuador
Frederic Edwin Church, American, 1826–1900, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a fort on the water in Colombia or Ecuador. The fort's walled embankment, two structures, and flagpole are visible at center and center right. Palm tree included at extreme right. Water comprises foreground.

Verso: Mixed sketches including three botanical sketches and a view of a kingfisher and a house. Upper portion divided into three sections, each hosting a different plant study: a bush with white flowers upper left, a tree with shiny leaves upper center, and a sensitive plant upper right. Below, at left, a small, hasty sketch of a kingfisher bird is visible. At lower right, a multi-storied house with a balcony and a pyramidal thatched roof is shown.
Classical Ruins, Syria
Frederic Edwin Church, American, 1826–1900, April or May 1868
Oil paint and graphite on paperboard
Drawing

Landscape and architectural sketch showing a view of an ancient colonnade at sunset, likely near Damascus, Syria. The standing colonnade is made up of three Corinthian columns supporting a ruinous entablature. They catch the pinkish peach light of the setting sun. Columns are situated beside a small, arched stone bridge visible at center. A small figure is visible in the foreground at lower center. In the middle distance, a green, rolling landscape extends toward a hazy and indefinite horizon. The moon begins to rise in a twilight sky characterized by pink clouds and a yellow-aquamarine gradient.
Handscreen
, late 18th century
Painted silk leaf with silk passementerie, turned ivory handle

Handscreen with a cream-colored leaf, hand-painted with a basket of flowers with a bird; scrolling trim at edges. Turned ivory handle.
Scarf
, ca. 1865
linen Technique: bobbin lace (late Valenciennes ground)

Scarf of rose sprays with flowers forming a scalloped edge and surrounding stems with rosebuds and leaves on a Valenciennes ground.
Textile
, 18th century
silk Technique: taffeta weave, brocaded

Light rose moiré taffeta ground with floral serpentines partly brocaded in colored silks and partly created by floats of the alternate pink and white primary wefts. Taffeta ground interrupted by stripes of satin weave with superimposed blossoms.
Plate 2, from Die Folge der phantastischen Schmucksträße (Suite of Fantastic Ornamental Bouquets)
Wendel Dietterlin the Younger, German, active 1610–1614, 1614
Etching on laid paper
Print

Octagonal print showing a symmetrical architectural arabesque motif with creatures. Masks in the lowest scrolls, grotesque insects flanking the top.
Bavarian Landscape
Frederic Edwin Church, American, 1826–1900, June - August 1868
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of mountainous Bavarian landscape, likely near the town of Berchtesgaden in present-day Germany. In the foreground at center, two structures are shown--a small house and possibly and mill or farm building beside it at right. In the middle distance, rolling, wooded terrain leads to a steep mountain valley in the background at left. A mountain that comprises one side of the valley is shown at upper center with a rocky pinnacle at its peak. Other mountain ridges are faintly rendered behind it at left and right.
Spiritus Intellectus
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper. Verso: pen and brown ink on laid paper.
Drawing

Recto: Joseph interpreting the dreams of Pharoah. Pharoah sits on a covered dais, left, surrounded by his court. Joseph, a young man, stands before him.  
Verso: Italian inscription.
Man with a Scythe
Winslow Homer, American, 1836–1910, ca. 1879
Graphite, corrections in brush and white gouache on heavy white wove paper
Drawing

Horizontal view of a man, shown from the back, mowing with a scythe at lower center foreground while the upper bodies of two other men are visible in the field at right middleground; a building, fence and trees fill the horizon in the background.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for Ceiling Decoration
Study for a kneeling woman, “Vintage Festival,” Mendelssohn Glee Club, New York
Robert Frederick Blum, American, 1857–1903, 1891–1892
Graphite on wove paper
Drawing

Recto: Sketch of a female figure kneeling; Verso: Sketch of a woman wearing a kimono.
Fragment
, 18th century
linen Technique: bobbin lace (Binche style with snowflake ground)

Deeply scrolling design of foliage and blossoms. Snowflake ground. Straight edges.
Two Studies of Sybils
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and brown ink, brush and dark brown wash, over traces of black chalk white wove paper
Sketchbook folio

Upper drawing of seated Sybil, facing front, flanked by putti, one with tablet. Lower drawing of seated Sybil, with two putti at center holding tablet.
Four Figures in a Fantastical Garden
Alexis Peyrotte, French, 1699–1769, 1738–49
Etching on paper
Print

Four figures in a fantastical garden landscape with chinoiserie style figures and motifs. The figures are standing on a platform with a balustrade behind and a large plinth to the left with a child and a cat seated above. A female figure points to a seated figure holding a large stick with birds perched above. A standing figure to the right points up to the seated child and holds a fan. The figures are framed by fantastical flowers and trees in the background, with an ewer, vase, and a ruined fluted column in the foreground. The motifs and the figures are in the chinoiserie style, derived from the French word for Chinese (Chinois), used to describe a European style of ornament associated with the Rococo, inspired by Chinese, Japanese and other Asian artistic traditions. The plate is signed and numbered.
Élévation d’un batiment de quatre toises de face
A. Le Canu, French, active 1746 – 1768, ca. 1762
Etching and engraving on paper
Print

An architectural elevation of a four-storey building. Double-doors on the ground floor with a blank frieze above, probably intended for a shop front. Each storey above has three large windows with a single dormer window in the attic level of the building. The elevation includes a scale of measurement below and the whole is framed in black. The title is lettered below along with the name of the designer and printmaker, plate mark and privilege.
Two Saints
Corrado Giaquinto, Italian, 1703 - 1765, ca. 1725–50
Pen and brown ink, brush and blue wash on cream laid paper
Drawing

In a quatrefoil vegetal frame, a saint is about to step off a boat on shore. He is welcomed by another saint, while a third is bidding him farewell. Left, a crowd of mostly women has gathered.
Fragment
, 17th–18th century
silk Technique: plain weave with supplementary warp floats

Vertical stripes with warp floats forming pattern.
Brisé fan
, 1830–50
Needle-pierced paper leaves; carved and pierced bone sticks with applied metal spangles; pierced bone guards with turquoise and mother-of-pearl inlays

Brisé fan with pricked paper in feather shapes mounted on sticks of carved and drilled bone with applied metal spangles; turquoise and mother-of-pearl inlays on the guards.
Study of a nude
Ubaldo Gandolfi, Italian, 1728 – 1781, ca. 1750
Red and white crayons on light brown paper
Drawing

Vertical composition of a nude young man carrying a bar. His right hand is raised and left hand is lowered. The body is shown from the front and the head is turned in profile. The lefs are in a walking pose and the right hand is not shown.
Self-Portrait in Silhouette
Wilhelm Müller, German, 1804 - 1865, ca. 1840
Scissor-cut black wove paper laid down on white wove paper
Silhouette

Seated figure of a man sitting at table, facing right, in act of cutting a silhouette. Dog seated below table.
Design for a Woven Horizontal Border
, 1790–1810
Brush and gouache on oily tracing paper
Drawing

A white and blue border of hanging ears of grain is at the bottom. Tulip boughs rise from it in great intervals; one and part of another are shown. Flower bunches including some roses, and a big bough of a bush, rise in the intervals.
Design for a Woven Flower Scroll
, 1815-1840
Gouache on oily tracing paper
Drawing

A bough with leaves, a blossom at the end of a spiral; three discs similar to those in 1909-13-77, probably buds.
Designs for Ornament
Briceau, French, 16..–17.., 1709
Engraving on laid paper
Print

One central rondel with ornament motifs surrounding by four other rondels with scrolling ornamentation against dark backgrounds. The plate is signed.
From Bird Mountain, Vermont
Frederic Edwin Church, American, 1826–1900, October 1863
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of the mountainous wilderness around Bird Mountain in Vermont. A heavily wooded ridge extends from lower left to upper right, extending from the foreground to the middle distance and culminating in a sharp summit at upper right--a subsidiary peak of Herrick Mountain, whose ridge extends out of view at upper right. Other, shorter mountains at left surround a wooded valley, possibly with a body of water visible at center left. In the background, Vermont's Green Mountains form a rugged horizon under a featureless sky.
Stage Design for the Interior of a Palace in Classical Style
Giuseppe Barberi, Italian, 1746–1809, 1778
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Possibly a public room for teatro versaco. Hall in classical style opening toward garden with one and three windows, sketch with slight alteration at the side.
Stage Design: Side Wing for Garden Architecture
, ca. 1675 - 1690
Pen and bistre on paper
Drawing

Vertical rectangle showing half a wall fountain wall and a balustrade with flowers. Framing line below and at right.
Chinoiserie with Figures in a Landscape
François Boucher, French, 1703–1770, 1738-1749
Etching and engraving on white laid paper
Bound print

Chinoiserie scene. In a landscape, a woman stands holding a fan and looking down to her left at three children: one gestures, one rides a hobby horse, and one pets a small animal. At the front edge of the landscape is a fountain with a dragon spraying water, framed by other foliage that blurs into the background. The plate is signed.
Costumes of South Calabria
Saverio della Gatta, Italian, 1777 - 1829, 1828
Brush and watercolor on paper
Drawing

In the middle distance at left sits a woman upon a stone, "Donna di Nicastro." In the center is a group of three women, one holding a spinning stick, the others discoursing with each other. At right, a man with a gun. "Vomo, e Donne di Garaffa Albanesi." At right is a woman with a wooden bakery shovel. "Fornara Albanese." In mountainous country.
Fragment
, 900–1100
wool Technique: plain weave with continuous supplementary weft patterning

The fragment has woven parts from sides with bird motifs in brown and light tan on a tan background. The center part shows the warp. Two loom sticks are attached. Fragment was found in Chillon Valley, near Hasierida San Miguel de Chocas. (b and c are 2 loom sticks)
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry woven with supplementary weft wrapping

Square medallion sewn onto linen fabric with weft pile loops. The square has baskets, or bowls, containing fruits or flowers.
Fragment
, 1750–1800
silk Technique: cut voided supplementary warp pile in a satin foundation (velvet)

Small-patterned or "miniature" velvet with a light green ground formed by floats of a secondary weft thread. Over this, cut pile in beige with background pattern of narrow vertical stripes alternating with fine diagonal stripes. Border design in red and green pile of rose and minute floral intertwining serpentines.
Fragment
, 4th–5th century
linen warp, wool and linen weft Technique: tapestry woven with slits and wrapping (soumak)

Tapestry woven square with a deep border surrounding a square field, which contains a medallion with a figure moving to the left holding a circular object, cape fluttering. Soumak defines forms and borders. Hatching in spandrels. Wide border of acanthus leaves and flowers.
Ornamental Vase Design
Maurice Jacques, French, ca. 1712–1784, 1760-1775
Etching and engraving on paper
Print

Vase design with a wide belly and a bouquet of flowers coming out of its mouth, falling across the shoulders of the vase, down to the base. The neck of the vase has shallow fluting with dots going doing the inset length. The middle of the vase, the widest point, has a bound laurel motif. The bottom of the vase is decorated with scroll and fish-scale ornamentation. The foot of the vase has swirling fluting. The vase is elevated on a low, stepped plinth. The plate is signed and numbered.
Earring
, ca. 1840
Gold, bog wood

A) and B) Gold ring with ornament of wood in a design of an open rose, set in gold; from the ring hang three bars of gold ornamented at the bottom with a wooden ball in the design of a rose bud.
Uncle Tom's Cabin
, ca. 1870
cotton Technique: printed by engraved roller on plain weave Label: cotton printed by engraved roller
Handkerchief

Rectangular handkerchief showing twenty-five scenes from the novel Uncle Tom's Cabin, by Harriet Beecher Stowe, printed in brown on white.
Elevations d'alcoves avec portes à côté
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Split elevation of an alcove with cartouche and floral garland (left) and rondel with branches (right) at center. The side doors feature overdoor designs with a nude woman sleeping in a landscape framed by lamb tongue (left) and a portrait medallion with leaf garland framed in lamb tongue (right). The plate is signed.
Design for a clock
Lefebvre Manufactory, Tournai, 1800–1825
Pen and black ink, brush and yellow, red watercolor, graphite, on cream laid paper
Drawing

Base of clock supported by tapered feet, front panel decorated with crossed horns and wreath, trophies at either side. A lyre stands on top of dial. At right, a young woman in classical garb holds a roll of paper in her left hand. A tall-handled pitcher is at left of dial.
Fragment
, 15th century
silk Technique: 4&1 satin patterned by plain weave (lampas)

Curving stems with blossoms and pomegranates and areas of interlaced strapwork in rose, yellow, green and white on a red ground.
Vénus ou La Coquetterie
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching on paper
Bound print

Plate 5 of a series of 6 numbered plates. Symmetrically-designed panel with grotesques. At lower center, two grotesque putti, cartouches at their tails. Above, a pleated fan, upon which sit two kissing birds. Architectural structures with bases and columns at left and right, above which sit two sphinxes, each holding a hand mirror; an oval medallion with three nude female figures in between. Ornamental decorations include festoons of flowers.
Feast of the Ascension celebration, Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1879–1880
Graphite on wove paper
Drawing

Sketch of Venetian rowers with detail of the vessel's bow.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The body is decorated with foliage, acanthus leaf and gadroon friezes and ornament. There is a central open-mouthed mascaron with a shell motif around his head. The handles feature dragon-like creatures. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

A variation of the design of 1938-88-8206. The rinceaux spring from a palmette of ears of grain, with birds sitting beside. Shadow, background, base line, scale like that in 1938-88-8213. At left is the plan of the lateral part, at right, of the right half of the entablature.
Interior Alcove
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

An alcove featuring a tapestry on the back wall with a portrait bust on a plinth and ornately sculpted paneling and moldings, including doors flanking the alcove with overdoors featuring eagles, festoons and sphynx. The paneling and moldings feature scrolling leaves, rosettes, mascarons (masks), flying putti, a medallion portrait of Apollo, festoons of leaves, and cornucopias. The plate is signed, numbered and includes a scale below.