biglam/cooper-hewitt-alt-text huggingface dataset:
Stomacher
, late 17th or early 18th century
linen, silk, metallic (metal foil-wrapped silk core) Technique: plain weave linen foundation, embroidered on the front with couching stitches; trimmed with applied silk ribbon and woven metal trim, needle lace rose; backed with a block-printed linen lining printed with a pigment; ribs of unidentified material Label: linen embroidered with silk and metallic yarns; trimmed with needle lace rose, silk ribbon and woven metal trim; lined with block printed linen

Stomacher with a slightly u-shaped upper edge; the bottom finishes in a point with three independent tabs on either side. The front is linen, almost entirely covered with couched silver metallic yarns; while the metallic yarns are laid on horizontally, the couching stitches follow a "V" pattern. In the center is a single rose tied with a bow. The rose was made separately from red and green silk and gold metallic yarn in a needle lace technique; it is sewn on top of the silver couching.  The center panel is trimmed with white silk piping and a narrow woven metal ribbon; eight green silk tabs project from the sides for pinning the stomacher in place. Stiffened with ribs of an unidentified material, and lined with block printed linen with a pattern of small birds in a scrolling vine in red on white.
Textile
, 1850–1900
cotton Technique: printed by engraved roller on plain weave

Flower buds and grape-like leaves in dark greens and brown on a stippled ground of concentric cross shapes.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Band with buildings and ships under an archway with vines.
Abstract Arabesque Vines
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Stencil

Abstract Arabesque vines are depicted using a push carving technique. Thin strips are carved to suggest the curling pattern decorated with symbolic leaves all around.
The Dewey Arch, Madison Square, New York
, 1899
Photographic print on paper
Photograph

Photograph of the Dewey arch at Madison Square. The arch is flanked on either side by a colonnade and people are walking in the center.
Design for Wall Decoration, Yellow (North) Drawing Room
Frederick Crace, English, 1779–1859, 1815
Watercolor over graphite on white wove paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Elevation of wall similar to 1948-40-18, though not as complete. The two Chinese paintings at left are blank, the lower section of the wall is not included, nor is the section of the molding.

Original album associated with this collection still exists.  See 1948-40-1 accessory
napkin ring
, 1880–1900
wood

Tartanware
Design for Altar at Santo Spirito dei Napolitani (Holy Spirit of the Neapolitans), Rome, Italy
Carlo Fontana, Italian, 1634 - 1714, 1690–1702
Pen and brown ink, brush and grey wash, graphite on cream laid paper, laid down
Drawing

Depiction of Santo Spirito dei Napolitani (Holy Spirit of the Neapolitans) in Rome, Italy. The drawing features part of the church altar, including a set of Corinthian columns on both the left and right. A structure in the shape of a quarter circle appears above each set of columns, with a cherub resting atop the left. A lightly drawn arch, interspersed with pairs of cherubs on the middle and the right, connects the sets of columns.
Fountain
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Water pours over the edge of a basin into a lower one. In the center rises a circular pedestal with bowls, into which water is poured by - visible - three merman blowing their horns. On top is a female statue. Colored background.
Numa Pompilius and Egeria, Sala di Numa Pompilius, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brown wash, over black chalk on white laid paper
Drawing

Seated side by side, Egeria explains to Numa writing on tablet held on her knee. Behind them, rock formation; at left, view over mountainous country. At lower left, part of pen sketch of landscape.
Design for a Silver Standing Cup
Wenzel von Olmütz, Moravian, active 1481 – 1497, 1498
Pen and brown ink, brush and brown wash on white laid paper, cut out and laid down
Drawing

A silver centerpiece bossed and decorated with croquets; from the center of the cup rises a pedestal on which a man stands holding two spears. Two coats of arms rest between his legs, decorated with  three stars, a cracknel, and a bird.
Sidewall
, 1890–1900
Machine-printed

Vertical rectangle, an incomplete width with two repeating motifs; a man on house and trees, alternating with a stream with bridges, houses, and people on a steep bank.
AU LECTEUR
Claude Gillot, French, 1673–1722, 1749–61
Etching and engraving on laid paper
Print

Engraved text addressed to the reader explaining the origin and purpose of the series of bifurcated arabesque/ grotesque ornament panel designs. The text is framed by an arch with netting and reeds, with a base at the bottom flanked by two mermen blowing horns. Below in the center is one of the prints with a hand holding a mirror in the center to illustrate the intended use of the bifurcated designs (two per page). With rinceaux, fleurons, c-scrolls, and festoons of flowers below. The plate is titled, numbered, and signed.
Woods in Autumn, Vermont
Frederic Edwin Church, American, 1826–1900, probably 1873–74
Brush and oil paint on thin cream paperboard
Drawing

Landscape sketch showing a view of trees in autumn in or near the Green Mountains of Vermont. In the foreground, two large rocks are shown on a green grassy slope that descends to a dell at left, where a stand of four trees is visible. The two trees are left are largely green while the two at right are colored in deep autumn tints of red and orange. Behind them, a lush, rolling landscape extends to a high horizon in the background. Visible at upper right, the sky is gray and overcast.
Cotopaxi at Night, Viewed from the Hacienda San Agustin, Ecuador
Frederic Edwin Church, American, 1826–1900, September 1853
Brush and oil on tan paperboard mounted to aluminum support
Drawing

Landscape sketch showing a nocturnal view of a smoldering Cotopaxi from the nearby Hacienda San Agustin in Ecuador. In the dimly lit foreground, cattle graze on a green pasture beside a snaking stream at left. The middle distance comprises of a dark, flat landscape that extends to the base of the volcano, at center. The volcano itself is conical in shape and snow-capped. Smoke and red, glowing light emanates from its smoldering crater, as it is not yet fully erupting. At the base of the volcano at right, the twin-peaked mountain known as Cerro Morurco (also called the "Head of the Inca") is visible. A bank of dark gray clouds backdrops the volcano as the sky is a dark shade of blue.
Misty Mountains near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June–July 1868
Brush and oil on tan paperboard
Drawing

Landscape sketch showing a view of misty mountains near Berchtesgaden in present-day Germany. Viewed from an elevated perspective, numerous evergreen treetops are suffused with diaphanous vapor on a hillside that descends to green pastures and grassy fields in the middle distance at center. Heavily wooded mountainsides at left and right descends towards center and frame a view of an immense, rocky summit in the background--likely that of the Hochkalter. The mountainside at left--likely the lower slopes of the Grünstein--are covered with thin blankets of fog. The sky above is a diverse mix of low-lying, puffy clouds and higher, wispier ones. A patch of blue sky is visible at upper right.
Decorative Panel: Medallion with a Sacrifice Scene between Two Victories Adorning Candelabra
Jean-Louis Prieur the Younger, French, 1759 – 1795, 1759–95
Pen and black ink, brush and gray and brown wash on white laid paper
Drawing

Design for a panel in which the central position is occupied by a large medallion with a scene of sacrifice.  On either side of the medallion, a figure of Victory adorns candelabra.  Composition is set against a dark background.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1890
Brush and gold paint on paper
Drawing

On beige ground, decoration in gold of anthemion with rinceaux; bordered by Greek key frame.
View of Mount Washington near Jackson, New Hampshire, Looking North
Daniel Huntington, American, 1816–1906, September 11, 1854
Graphite on cream wove paper
Drawing

Man on a road lined with trees; mountain beyond.
Interior Wall Elevation
François II de Poilly, French, 1666 – 1741, 1696–1740
Etching and engraving on laid paper
Print

An interior wall elevation with a chimney piece and overmantel mirror in the center, flanked by paneling (boiseries), and mirrors with console tables on brackets, decorated with rococo motifs and ornament including scrolling acanthus leaves, scrolling leaves (rinceaux), fleurons, masks (mascarons), and shells, with small, lidded vases on brackets. The frieze of the entablature has corbels with masks (mascarons), and festoons of flowers and leaves. A plan view below the chimney piece to illustrate the shape of the mantel from above.
Design for Reliquary
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620–30
Pen and brush and brown ink, black chalk on off-white laid paper
Drawing

Elevation of a reliquary consisting of a plinth-like foot and baluster shaft surmounted by an oval two-handled body with an arched pediment.  An angel stands on top of the pediment, and two angels recline on the curved top of the handles below at left and right.  Fake inscription in the center of the oval body.  To right and left of the image are words written in flouished script.
Cardamom, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Botanical sketch of a cardamom flower in the Jamaican jungle. Leaves of the plant visible all around. Flower bulbs centrally placed and rendered in white with pink tips, while blossoming flowers are yellow and deep red. Dark green ground visible through leaves all around.
Design for Woven Paisley
, 1825–40
Brush and orange-pink gouache on brown oiled translucent paper
Drawing

Design for paisley (Persian woven cone). A small cone containing a flower bough sits inside a larger one, curved at the top in the opposite direction and showing a dotted field. The edges of the larger one are lined with leaves.
Tea Caddy
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel
tea caddy

Rectangular, with rounded shoulders and collar about circular opening. Silver stopper-cap.
Sampler
, 1794
linen and silk embroidery on linen foundation Technique: darning and satin stitches on plain weave

Fifteen samples of darning arranged around central square with initials "L A M B" "ANNO" and the date "1794".