biglam/cooper-hewitt-alt-text huggingface dataset:
LEGLISE ST. PIERRE DE ROME
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Bird's-eye view of Saint Peter's Square with St. Peter's Basilica in Vatican City in the far center with its domed roof and temple façade. Semi-circular colonnade framing the square (piazza) with an obelisk in the center.  Figures, horse drawn carriages, and sedan chairs throughout. Buildings and landscape in the background. The plate is signed, titled, and with a description below.
Ornamented Axe, Helmet, Quiver, Shield, and Crown Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for axes, helmets, quivers, a shield, and a crown, featuring ornamental motifs such as winged horses, griffins, rosettes, shells, beading, rosettes, acanthus leaves, masks, and fleurs-de-lis. The plate is signed and numbered
The Great Basin of Mt. Katahdin, Maine, Part One
Frederic Edwin Church, American, 1826–1900, 1876–81
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing the lower part of a panoramic view of the Great Basin of Mt. Katahdin in Maine, from the shore of Chimney Pond. This description refers to the entire view, comprising two leaves with 1917-4-1145-b. The reflective surface of Chimney Pond extends from the foreground to the middle distance, where the heavily wooded opposite shore is visible. Behind it, the rugged northern slope of Mt. Katahdin rises abruptly into the sky, comprised of several rocky ridges and fissures. At upper center, Pamola Peak is visible along Katahdin's serrated ridge, which extends out of view at left and right and forms a high horizon.

Verso: Minimal landscape sketch showing the outline of Mt. Katahdin from a distance. Pamola and Baxter Peaks are visible at left with a rounded prominence in the foreground at left.
Album of Architectural Prints
François de Cuvilliés the younger, German, 1731 - 1777, ca. 1770
Album

Album containing series of architectural prints published ca. 1770 by François de Cuvilliés, the younger, illustrating real and imagined buildings, palaces, gardens, fountains, and mountains in Germany. Containing books T, U, M, V, Y. Bound with a manuscript title page.
Textile
, 1700–1750
silk Technique: plain weave with supplementary weft

Polychrome flowers and fruit facing in alternate directions on a pink background.
Valance
, 18th century
cotton Technique: weft ikat in 1\2 twill

Wide valance with bands of solid blue and ochre, pink and beige weft ikat. Same fabric used as part of the facing on the back of the valance. valance is bound with plain weave tape.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic all-over pattern of scattered bunches of flowers and leafy vines and branches; large diamond-shaped repeat in off-set column; crude block-printing affect with attempts at naturalistic shading; color scheme of tan overlaid with white, dark-red, yellow, and bright-red highlighting; metallic gold ground.
Design for Serving Table on Stop-Fluted Legs
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular molded top raised on 4 straight, stop-fluted, turned legs; lower shelf attached half way up from floor level; low backsplash; stack of plates shown upper right corner of top.
Plate
Olérys-Laugier Factory, France, founded 1738, 1760–1790
tin-glazed earthenware
plate

Circular form with shaped rim. Monochrome ochre decoration on white ground shows potato-flower at center and around edge.
Tassel
, late 16th–early 17th century
linen Technique: braided and knotted

Pear-shaped linen tassel, braided and knotted.  Short loop attached to pear-shaped center unit, from which hang seven end chains fromed by small circular elements and connected to one another by loops.
Portrait of a Man
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Portrait of a man, facing frontally, wearing a cap. Depicted from the neck upwards.
Blouse
Lydia Bush-Brown, American, 1887–1984, 1905–19
cotton, silk, buttons with glass beads Technique: block printed on crepe (overspun warp) and embroidered using buttonhole and figure-8 stitches

Off-white pullover, long-sleeved tunic style blouse with block printed band of flowers in rust red with green from shoulders to cuffs and around the bottom border. Neck yoke and upper side of cuffs decorated with buttonhole stitches using rust red silk. Neck slit reinforced with a figure-8 stitch using rust red silk. Five white dome-shaped buttons topped by a green glass bead are on each sleeve.
Tumbler
, ca. 1770
Cut glass with gilt decoration

Stright-sided tapered body of fifteen vertical panels, decorated with rococo scenic fantasy in gilt.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a design of a large central flower with flanking buds. Minute superimposed rosettes. Outer petals of large flower in a diamond diaper pattern.
Valance
, 18th century
cotton, linen Technique: resist printed and indigo dyed

Long, straight valance in white with a resist design in two shades of blue. Incomplete pattern shows large scale foliage and flower. Edging of resist-printed tape in a simple blue and white vine design. Lined in blue-checked linen. Face down, below border with striped cotton in two shades of blue.
Fragment
, 14th–15th century
linen Technique: resist-printed on plain weave

Linen plain weave dyed blue has a resist-applied small-scale all-over design of diagonally crossing lines of dots forming a grid of squares which each enclose quatrefoils.  Dots also create the borders which are diagonal bands of geometric shapes.
Drawing
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper

At left: Four lion feet on a circular base are to support the bowl which is decorated with lion masks with rings, and with a pierced railing on top. At right: A bowl with a shaft; it is decorated by festoons suspended from rings and with moulding.
Fragment
, 16th century
linen Technique: withdrawn element

Insertion of reticella has an interior band with adjoining four-lobed frameworks. Small circle is in the center of each framework. Outer band has small squares filled with wavy diagonals.
Chased Silver Medallion
Hans Holbein the Younger, 1497/98 – 1543, 1532–43
Pen and brown ink, brown, blue wash Support: white laid paper
Drawing

Square. Within a rondel, a grotesque satyr's head seen frontally, surrounded by a grapevine meander. Verso: part of a figure sketch (another part on -1).
Drawing
Felice Giani, Italian, 1758–1823, 1810
Pen and brown ink, brown wash, over traces of black chalk. Laid Paper

Horizontal rectangle. Time sits at left pointing at the writing in a book from which a winged female copies.
Les petites chaumieres
Hendrik Joseph Franciscus van der Poorten, Netherlands, 1789 - 1874, 1841
Etching on paper
Print

A village road flanked by small houses, with trees behind.. Man and donkey, woman with children in the foreground
Rendering of Chancel
Leon Dabo, American, 1868–1960, 1902–10
Brush and watercolor, gouache, graphite on paper
Drawing

An altar set in a shallow apse approached by steps; columns and pilasters set off the architecture.
Study of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

Nude boy reclining on a mattress, with left leg hanging. Left arm is bent, supporting head.
Rembrandt with raised sabre
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

A bust-length self-portrait of the artist, facing the viewer. The figure is turned slightly toward the left. He wears a cap, a cloack with a fur collar, and holds, in his visible right hand, an upraised sabre. A portion of the upper section of the sabre blade is cut off by the framing line.
Border
, 18th century
linen Technique: bobbin lace, Brussels style

Border alternating bird in flight and resting with shepherdess's crook with sheaves of grain and quiver with bow and arrows.  Butterflies and six petalled blossoms scattered and ground.
Textile
, early 19th century
cotton Technique: engraved roller and relief printed on plain weave

Panel of cream white cotton, with block-printed design in perpendicular arrangement. Delicate ascending vine with clusters of small flowers, naturalistically drawn in shades of red, violet, blue and yellow drab; small flowers in pure white probably by discharge. Fine picotage in dark brown around the vines and blossoms. Left selvages present.
Band
, 17th–18th century
linen Technique: bobbin lace, Binche style with no ground

Band with a dense scrolling pattern with open spaces and no brides.
Fragment
, 18th century
linen Technique: bobbin lace

Fragment of Valenciennes lace has a symmetrical floral design.
Landscape
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Distant view across a meadow and bushes. High sky with clouds.
Death of Lord Nelson
John Bury, 1806–07
cotton Technique: block printed on plain weave
Textile

Large-scale design, block-printed in madder colors, with pencilled blue on a "tea" ground. Various large flowers in shades of red, palms, and foliage among which appear attributes of Admiral Nelson's life. Upper left, an urn on a base with legend: THE NILE, arch, pyramid, and man on camel. Below an arch, Nelson's figure with drawn sword; legend above: "Lord Nelson's Last Signal," and below: "England Expects Every Man to do His Duty." Right, a pyrimidal monument, flowers entwined; eagle at top; two dark figures right and left. Bottom, on base: TO THE MEMORY OF ABOUKIR, COPENHAGEN and TRAFALGAR. Sphinx at right of base.
Maple Leaves on Stripes
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Maples leaves shown, in a variety of forms are on a striped background. Silk threads are added to support the structure of the stencil. The lower half of the stencil appears to be worn away.
Cabane De Pecheurs (Cotes de l'Italie)
Adolphe Appian, French, 1818 - 1898, 1876
Etching in dark brown ink on cream-colored Japan paper
Print

Horizontal rectangle. Small houses, left, border a quay at which fishing boats are moored. Distant hills in center background. Published in L'Illustration Nouvelle 1876.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a trefoil blossom with a stem and trefoil bud. Center in a diamond diaper pattern. One petal scalloped.
Page Five from "Quatrieme Livre Contenant Des Montans où Pilastres Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three "candelabra-like" arrangements of various motifs, characterized by, first: sphinx supporting an arch of a caryatid; second: a herm carrying war trophies; third: a portrait medallion supporting a clock-case. Inscribed, upper left: "D"; upper right: "5"; lower left: "Oppennort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et ex."
Allegorical Bust of "America"
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, mid- 18th century
soft paste porcelain, bronze, gold (pedestal)
bust

Crown of feathers; drapery over shoulders; shaped base, mounted with brass and resting on bun feet.
Bottle case and cover
, early 19th century
wood, turned, walnut

The bottle case is cylindrical and flat-bottomed. The upper edge is threaded, as is lower edge of cover. Cover is of curved profile, with circular domed top. Interior contains amber bottle with curved shoulder, elongated neck and glass stopper. Underside of bottle molded with name ''WELCOME CHEM. WORKS 168.'' Interior of case with pad of silk floss to cushion bottle.
Textile
, early 18th century
silk, metal Technique: plain weave with supplementary weft floats (brocaded)

Two fragments of a continuous pattern in the bizarre style placed side by side. Ground in shades of gold with floral design in red, green, yellow and blue. Each fragment has one selvage present.
Borage
Morris & Co., London, England, designed 1883
cotton Technique: printed over resist
Textile

Symmetrical small-scale design of arabesques and ogees formed by twining plant stems, flowers and leaves, in pink, yellow, and green on a dark blue ground with a tiny all-over floral resist pattern.
Chef de piece
, 1790–99
cotton Technique: block printed on plain weave

Diagonal lines closely filled with pattern. One set of diagonal lines contains hieroglyphic-like shapes. Two purples and yellow.
Brillion Collection
, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze containing bouquets of roses set atop vase-like acanthus scrolls. Top edge has narrow border of "C" curves and trefoils. Lower border is a band of acanthus. Printed in shades of green and gold mica flakes on a background that shades from medium to light green.
Christ in Limbo
Jacopo Palma, il giovane, Italian, 1548 – 1628, 1625-1628
Pen and ink, bistre wash and white heightening on grey laid paper
Drawing

Christ, on a cloud bank, runs towards a group of figures, lower left. Another figure holds the cross, right and a figure floats above.
"A [Match] For You At Any Time"
Sampson Mordan & Company, 1886–87
Silver, enamel
Matchsafe

Rectangular, rounded corners and sides, featuring polychrome enamel, word/picture rebus, inscribed "A [Match] For You At Any Time", with image of wooden match stick with red tip substituted for word "Match". Lid hinged on upper left. Striker on bottom.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Design for a plate with a crenellated rim in gold; decorated with purple flowers with green leave, some of which have white spots. In graphite, above, several tableware designs.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Repeating floral medallion motif. Printed in white mica, burgundy and light green on light brown ground.
La promenade après dîner, from La vie de château
Gihaut Frères, French, 1815 - 1871, 1832
Lithograph, brush and watercolor on paper
Print

People walking in a park; come conversing. Four dogs, left, with them. Title and artists' names below.
Sidewall
, 1850–1900
Machine-printed ?

Scrolling foliage and floral design. Printed in brown and tan.
Pleated fan
, 19th century
Painted leaf of needle and bobbin laces, sticks of imitation tortoise

Pleated fan. Single leaf of duchesse lace (needle and bobbin laces) painted with scene of cherubs interacting with lace birds. Sticks of imitation tortoise with ribbon holder.
Plate II, from "Characters who Frequented Button's Coffeehouse About the Year 1720"
Samuel Ireland, English, ca. 1744–1800, 1786
Aquatint on paper
Print

Two men seated at a table. One of them at left is examining closely a watch.
"Assyrian Head" Pattern Cheese Scoop
Meriden Brittania Company, Meriden, Connecticut, USA, 1808 - 1898, 1885–86
silver plated, metal
scoop

Small trowel-shaped bowl, baluster shaped neck and stem, decorated with curving lines above two flowers within border on stippled ground. Narrowing to small section with layered vertical disc motif, meeting a wider plain section of stem, before circular lip at top of handle. Handle decoration begining with setting sun motif above banded section. Stem continues, flaring towards terminal, decorated with scrolling foliate pattern, including sun with scrolling rays. Terminating in crowned antique style "Assyrian" head with laurel surrounding neck. Terminal of slightly rounded rectagular shape. Reverse side of handle decorated with identical pattern. Handle thick and rectangular in section.
Miser's purse
, 1800–1820
silk, metallic beads Technique: beaded netting

Netted silk of cerulean blue color, ornamented with gold beads in diamond pattern. Side opening controlled by two etched hexagonal gold rings; gold bead tassels at each end.
Plate I, from "Characters who Frequented Button's Coffeehouse About the Year 1720"
Samuel Ireland, English, ca. 1744–1800, 1786
Aquatint on paper
Print

Two men standing foreground. The one at left giving some money to the one at right. They are identified as a waiter and a hungry customer. At left a dog.
Sidewall - sample
, 1906–08
Machine-printed

Geometric forms, trefoils, interlocking with each other, forming an all-over design of tiny pin dots. Round lines cover the design. Printed in cream, pale blue and blue.
Sidewall - sample
, 1907–08
Machine-printed

Floral stripe, printed in shades of yellow and white.
Wicker Work Pattern
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

The wickerwork pattern (kagome) originates from a bamboo basket. It is believed to ward off bad luck as well as preventing the spirit of a man or child from wandering. It is associated with things around the water and is incorporated in many designs.
Woodcut (facsimile): An embroiderer at work
, 1550–1600
Black ink printed on white paper
Print

Embroiderer shown at work in his shop, assisted by a woman. Facsimile of a page from early 16th century book.
Dark Rocks and Tall Cliffs with Choppy Ocean
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy ocean in foreground with waves breaking on two sections of large, tall cliffs at right, with dark rocks at right in foreground.
Frieze
, 1905–1915
Machine-printed paper

Floral swags connecting alternating floral large and small floral medallions. The large medallions contain bouquets of roses. Bottom contains curvilinear line of elongated acanthus leafs seperated by bouquets of roses. This lower portion is filled in with a grid mimicking a trellis. Printed in gold, white, and shades of pink and green.
Sidewall
, ca. 1800
Block-printed

Squares defined by bead and reel and four lines. Rosettes in reserve on blue in corners. Inside squares five radiating branches with leaves.
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Wreaths wrapped in pink ribbons, sitting atop a foliate rope. Foliate garland hangs below. Printed in green, pink and mica on a tan ground.
Landscape, Lauterbrunnen, Switzerland
William Trost Richards, American, 1833–1905, August 10, 1867
Graphite on paper
Drawing

Sketch of landscape with a figure walking on a path and trees with foliage.
Sampler
, mid-19th century
silk embroidery and paint on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Cartouche at center.  Domestic motifs scattered throughout.  Four different borders.  Several stitches were painted after they were embroidered.
Textile
, 1800–1850
cotton Technique: block printed on plain weave

Red ground with a staggered repeat of whirling rosettes in yellow, black, red, and reserved white. Spaces between rosettes have interlaced circles and links.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Landscape frieze printed two across. Alternating group of trees on land and sailboats on water, with windmills. Bottom is bordered with brown and green stripes with green dentil and beading pattern. Top is bordered with brown and green stripes. Clouds in the background. Printed in brown and green. Whole pattern in covered in black dots. Grounding is light greenish beige. Slight staining and water damage.
Printed in selvedge: "G. W. P. Co. 111  1643" "Gledhill Wall Paper Company. New York. N. Y."
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Multi-colored flowers, green leaves on purple feathery vines on white ground.  Lined graphite border.
Ceiling paper
, 1905–1915
Machine-printed paper

Wreath motifs connected by either scrolls of petite floral bouquets. Printed in brown, white,and green on pale green ground.
Sidewall
, 1900–1920
Machine-printed, ungrounded

All-over patterning of dabs of different colors, including red, green, brown and mica.
Band
, 16th–17th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

Rectangular band with an open grid of symmetrical crossing lines.
Frieze
, 1905–1915
Machine-printed paper

Stylized tulips wrapped in scrolling foliage with single tuloip alternating with double tulip. Faint tulip motifs printed on upper half of background. Decorative scalloped band of scrolls along top and bottom edges.
Project for Carved Panelling
Giovanni Francesco Romanelli, 1610–1662, 1650
Pen and brown ink, graphite, red chalk on paper
Drawing

Horizontal format, two blank panels flank two putti who deck a herm with garlands and at either extremity are seated figures. Project left incomplete.
Sidewall
, 1875–1900
Machine-printed on paper

Imitation tapestry weave with hunt scenes, falconer, hounds and stag within setting of dense foliage.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1900
Machine-printed paper

Quatrefoil motifs in green and gold, with connecting thin scrolls on woodgrain imitation on uncoated paper. Drop match, drop repeat.
Book paper
, 1850
Block-printed

Small-scale all-over pattern of geometric pattern. Blue asterisk-like motif set in mustard-yellow framework, on white ground.
Church, Germany
William Trost Richards, American, 1833–1905, 1867
Graphite on paper
Drawing

Sketch of a monk walking down a staircase with a church in the backrgound.
Frieze
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Block-printed on paper

Frieze or dado in Anglo-Japanesque style. Large red roses with other flowers printed on tan ground set within a rustic stick framework. Printed in striped ground. Ocher band with strapwork running along top and bottom edges. Printed in selvedge: "A.W.P.M.A."
Floor Plan of a Building (Verso of -1)
John Trumbull, American, 1756–1843, May 3, 1783
Pen and gray ink on paper
Drawing

Verso contains faint graphite sketch of a domed, porticoed structure.
Bonad
, 1775–1825
Hand painted on canvas

Bonad illustrating one scene, presumably the Wise and Foolish Virgins, or Parable of the Ten Virgins.
Sidewall
, 1840–60
Machine-printed on ungrounded paper

Diamond trellis design with inset floral motif. b) Deep blue oval at grid intersections, with connecting rope twist or cable molding. Printed in blue, white and possibly black on ungrounded tan paper. a) is a much smaller piece of the same design, printed in gray with green ovals.
Textile
, early 19th century
cotton Technique: block printed

Pale blue ground with a background of a small vine pattern reserved in white, possibly by discharge. Overprinted by block in a pattern of flower clusters in red, dark brown and dark green.
Sidewall
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper, liquid mica

Bands of diaper or scale-pattern with large floral medallions. Medallions have pink roses, foliate vining, scrolls, stripes and torches. Connecting the medallions are rose swags. Between bands are two thick green stripes and three thin green stripes. Printed in pinks, greens, tan and metallic gold on light green ground. Printed in right selvedge: "Ithaca Wall-Paper Mills" "M.P & C.M. of US" "Union Made" "AFOL"? or "AOFL"? pattern number "414".