biglam/cooper-hewitt-alt-text huggingface dataset:
Quakers Meeting, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Men and women in hats and bonnets; in open-backed pews at a meeting house. Platform, rear, and side balconies above. Title, artists', and publisher's names below.
Sidewall - sample
Liberty Paper & Bag Co., 1906–07
Machine-printed

Rich design of grapes, peaches, pineapple and cinquefoil flowers in profuse foliage and grape leaves. Printed in shades of red and green, purple, brown and beige on an off-white ground.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Trellis pattern with quatrefoil shape at intersections. Printed on light green ground.
Friendship Greeting, Carnation
, ca. 1890
Graphite, brush and watercolor, brush and oil paint on cardboard
Greeting Card

Standing man with carnations before him, Four-line verse; below, at top left: "Carnation".
Sidewall
, ca. 1800
Block-printed on handmade paper

Unpainted ground seme with leafy sprigs in green.
The Entombment
Giulio Romano, Italian, 1499–1546, 1580–1600
Pen and ink, brush and sepia wash, white heightening on paper
Drawing

The figures of the three Marys and St. John are seen bending over the body of the dead Christ, preparing it for the tomb. One figure holds aloft a lamp.
Fork with Gryphon's Head Engraving
, ca. 1700
silver, steel
fork

Two pronged steel fork with shaped shaft. Tapered plain silver cylindrical seamed handle with rounded end and raised button. Engraved with unidentified crest depicting a gryphon's head.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Machine-printed

Aesthetic style, floral pattern printed in shades of ochre with floral highlights of pink and blue. On embossed gold ground simulating a weave. Printed in selvedge: "A.W.P.M.A." and "1409".
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of a vase-like form with a mask, pine tree (matsu) and butterfly in weft ikat alternating with a lobed form in warp and weft ikat.
Fragment
, 17th century
linen Technique: bobbin made continuous tape with bars added

Fragment of a band with floral vine.
Textile or Wallpaper Design: Insects
, 19th century
Brush and gouache on cream paper
Drawing

Three yellowed stems with foliage all along length oriented diagonally, tops facing upward right. Four beetles and three bees crawl and fly on and around the stems. Three dragonflies and a smaller winged insect fly around stem.
Case for Agate Handled Traveling Cutlery Set
, ca. 1750
sharkskin, silver
case

1985-103-118-a: Sharkskin case without lid, of triangular form, wi...;     1985-103-118-b: Sabre-shaped blade with plain bolster. Octagonal s...;     1985-103-118-c: Four-tined fork with curved shoulders. Baluster-sh...;     1985-103-118-d: Pointed skewer with ball-shaped finial. Part of tr...
Sampler
, 17th century
silk and linen embroidery on linen foundation Technique: embroidered in running, double running, stem, satin, chain, cross, montenegrin cross, buttonhole, overcasting, eyelet, herringbone (both sides), four-sided stitch and detached looping (buttonhole) stitches on plain weave foundation

Bands of brightly colored pattern followed by white work.
Portrait of Jan Snellinx, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, ca. 1636
Etching on heavy paper
Print

Portrait of a man, facing frontally, his head turned sharply to the left. His right hand is raised to his breast. He wears a small cap.
Saint Catherine
Lucas van Leyden, Netherlandish, ca. 1494–1533, ca. 1520
Engraving and etching on paper
Print

The saint is shown in half-length, the figure turned slightly to the left. She wears a crown and carries a book under her right arm. She holds a sword in her left hand, while her arms rests on a wheel.
Kumano Junisha Shrine at Tsunohazu from One Hundred Famous Views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Circumventing the body of water are pairs of people meandering through nature. All along the edge are simple structures, constructed of natural materials to provide shelter from the sweltering sun. Protruding from the background are silhouettes of mountain peaks from the rising red fog.
Design for a Clock
, late 18th century
Brush and watercolor, pen and ink, graphite on paper
Drawing

Vertical rectangle. Design for a clock intended to be executed in gilded and green bronze and white and colored marble. Two crouching griffins support a round pedestal with a frieze of dancing girls. Above stands a tripod, with Atlas carrying the globe, which contains the dial of the clock, framed outside by busts of gods. At top is a rooster supporting a garland. Beside the tripod are the figures of the Fates.
Plate, from Ornamenti o Grottesche (Ornaments or Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on off-white laid paper
Print

Vertical rectangle showing a symmetrical grotesque design composed of camels, acanthus leaves and fruit.
Two Studies of a Young Girl Looking Over Her Shoulder
Winslow Homer, American, 1836–1910, 1861
Recto: Graphite on brown paper Verso: Graphite, white chalk on brown paper, blackened for transfer
Drawing

Recto:  Two horizontal half-length sketches of a young girl in a riding habit [with indications of a side-saddle position].
Verso:  Horizontal view across a drill ground, with log house and tents in foreground.
Le Touché
François-Thomas Mondon, French, 1709 – 1755, ca. 1736-55
Etching and engraving on laid paper
Print

An allegory for the sense of touch featuring figures seated in a landscape around a fantastical rococo ornament or architectural garden structure with c-scrolls, cartouches, shell and grotto motifs, with trees in the background. In the center a man embraces a woman, with his arms around her and face to her cheek. To the left, another couple with a man kneeling next to a woman, holding her hand. The plate is titled and signed.
Part of Old Wall at Paestum, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on light green wove paper
Drawing

Landscape and architecture sketch showing a view of an old wall at the ancient Roman ruins at Paestum, Italy. The top of the wall extends from the immediate foreground at lower center to the middle distance at center, with the artist ostensibly standing on top of it. Loosely rendered olive trees grow out of the wall at center, while equally loose mountains are shown in the background across flat terrain. The rugged mountain at upper right may be Monte Sottano.
Plan et Elévation du Château de Montmusard, Batie pour Mr. Voyer Dargenson par de Wailly Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a chateau with an exterior elevation and a floor plan below. The chateau features neoclassical motifs, a central dome, columns, and statues in niches. The plate is titled, numbered, and signed.
Drawing: A study of folded hands
, ca. 1760
Black crayon and white heightening on a blue paper
Drawing

Horizontal composition of folded hands. On the reverse there is part of the head of a young man after a classical bust with broken arms, probably representing "ANTINOUS."
Judith with the Head of Holofernes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 – 1605
Recto: pen and brown ink, brush and brown wash with black chalk on laid paper Verso: pen and brown ink, brush and brown wash on laid paper
Drawing

Recto: Judith stands at center, holding the head of Holofernes in her left hand and raising her sword in her right. Her servant, whose back is to the viewer, kneels in the foreground at left, holding out a sack to receive the head. Holofernes's corpse is visible in the background at right.
Verso: Christ appears in glory among clouds at the center of the image. Figures gather below, with Mary kneeling at center right and angels beyond. The heavens open above.
A. LE GRAND JET D’EAU, B. LA FONTAINE DE LA GERBE, qu’on apelle la fontaine du Pavillon de Manse
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of two fountains with jets within basins in the gardens at Chantilly, framed by walls of trellis/ lattice and walls. Potted vases, topiary, and figures throughout. The titles of the fountain and jet of water are lettered on the lower plate, below the image.
Design for Four Window Frames
Giuseppe Barberi, Italian, 1746–1809, 1780-1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The left sides are shown. At left: Windows of the ground floor and basement; beside the latter a kind of bracket baluster. Three diamonds on the lateral pilaster. Center left: the window of the basement is shown incompletely. Laterally, a pilaster. Center right: a left top corner of the frame obliquely shown. A bracket supports the entablature. At right: a rustic pilaster supporting the entablature with a rustic frieze. Colored background.
Covered Wagon and Figure Sketches, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on white wove paper; verso: graphite
Drawing

Sketches around Switzerland showing an elaborately shaded covered wagon viewed obliquely at left, a faint outline of a kneeling, lamenting figure at right, and two sketches of a figure leaning on their elbows with their head down, shown at lower right.

Verso: Figure sketch of a beareded prophet extending his hand and addressing two kneeling, female figures at left. All are adorned in draped robes. Likely a copy of a painting.
Study for "Herding," "The Progress of Civilization: Hunting, Herding, Agriculture," State Capitol, Des Moines, IA
Kenyon Cox, American, 1856–1919, 1905–1906
Graphite on paper
Drawing

Partial sketch of a bull.
Panel and Frieze Design
Philippe, I Caffieri, French, 1634 – 1716, 1670–1700
Etching on laid paper
Print

Designs for a vertical panel and a horizontal frieze below featuring royal emblems, dolphins, a French royal crown with fleurs-de-lys, fleurons, festoons of leaves, rosettes, ribbons, scrolling acanthus leaves, flowers, cornucopia of fruit, and foliate branches. The plate is numbered and signed.
Sketch for a Wall Painting
Giuseppe Bernardino Bison, Italian, 1762 - 1844, early 19th century
Pen and ink, brush and bistre on paper
Drawing

A seated woman, raising her right arm with a sword.
Fragment of a child's tunic
, 10th–12th century
linen, silk Technique: plain weave; split and outline stitches

Neck portion with armhole of a child's garment. Band of a serpentine design with trefoils follows along the neckline.
Alpine Lake
Frederic Edwin Church, American, 1826–1900, June - August, 1868
Oil paint and graphite on tan paperboard
Drawing

Landscape study showing a view of an alpine lake surrounded by towering mountains. Framed by a dead tree at left, the waters of the lake extend from the foreground to the middle distance, where they meet a wooded shoreline. Hills rise abruptly at left and right while a steep and sharp stone mountain rises just beyond them to the right. A jagged and snow-capped mountain is visible in the background at center. Above, the sky is filled with clouds.
Designs for Two Sofas and a Bench
Richard de Lalonde, French, active 1780–96, 1849–66
Etching on paper
Print

Designs for two upholstered sofas and a bench or large stool with carved frames featuring fluting, scrolling leaves, leaf molding, rosettes, and acorn finials, with draping textiles and tassels. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Study for "Equity," "The Reign of the Law," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898–1899
Graphite on paper
Drawing

A female figure reclining with right arm resting on a block.
Pleated fan
, 1830–40
Gilded paper leaf with chromolithograph, carved and pierced ivory sticks, partially silvered

Pleated fan. Gilded paper leaf with chromolithograph showing four ladies in a garden. Reverse: a man and woman in a medallion flanked by arabesques in silver paint. Carved and pierced ivory sticks with silvered decoration.
Bag
, 19th century
glass beads, silk, metal Technique: beaded knitting

Knitted bag with colored beads in design of floral band above leaf pattern arranged  in lozenge design; bead fringe. With blue satin at top with metal cord and balls.
Design for a Frame
Franz Hegi, Swiss, 1774 – 1850, early 19th century
Etching on paper
Album of frames

Design for an oval frame with an egg molding with a bracket/shelf below decorated with fluting and a festoon of leaves and ribbons. A book, sheet of paper and foliate branches on the bracket/shelf below the frame. The plate is signed.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

Design for a vase elevated on a pedestal. The foot of the vase is fluted. The vase has a wide body, and the handles are formed by two dolphins that connect the shoulder of the vase to the thick lip, the point at which the dolphins' mouths are attached. The shoulder of the vase has a band of vegetal ornament decoration; there is also a thin, raised band of ornamentation around the neck of the vase. The plate is lettered and numbered.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with an allover design of wavy vertical stripes and paisleys filled with a small floral pattern and some stippling in red, blue, green and yellow.
Interior Wall Elevation with a Chimneypiece
Pierre Ranson, French, 1736–1786, 1779-84
Etching and engraving on laid paper
Print

A design for an interior wall featuring ornately painted panels, doors, and a central chimneypiece and overmantel mirror, featuring ‘turquerie' (Turkish style) motifs. The paneling is decorated with flowers, festoons of flowers and pearls, crescent moons, and tassels. The frieze above features a repeating pattern of pearls, crescent moons, and tassels. The mantel features draped textiles, scrolling leaves, and crescent moons. The plate is numbered.
Title Page
L. Janneret, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

Title page for a series of interior wall elevations featuring rococo, neoclassical motifs, and arabesques. The title is lettered above an elevation featuring two windows with shell-like over window panels with birds, and above festoons of flowers with central profile portrait roundels. A frieze above in the cornice featuring scrolling acanthus leaves and the letters H and A. In between the windows, a large vase and possibly clock with the roman numerals along the body and a snake's head pointing to the central numeral. The foot of the vase is decorated with three female figures, a putti, arms and armor, spears with banners, and birds. Above four winged putti. On either side of the wall elevation, are two vertical arabesque ornament designs featuring similar motifs, vases, figures, and flaming torches. The plate is signed.
Sketch, Landscape
Antonio Baini, active Bologna, Italy, early 19th century
Black crayon on paper; verso: black crayon, pen and ink, brush and bistre wash
Drawing

Vertical rectangle. Two trees stand in the left foreground. At right is a view of hills across a lake. Verso: a nude woman crowed by a wreath with cloth draped across her lap is shown seated in the woods. Framing black lines.
Water Plants, Rome, Italy
Frederic Edwin Church, American, 1826–1900, May 6, 1869
Graphite on light brown wove paper
drawing

Botanical sketches showing views of water plants in Rome. At center, at center, a flowering plant is situated within several reeds or leaves. Details of its blossom and buds are visible at upper right. A water plant that resembles the branch of a pine tree with numerous needles is included at far right (possibly Hydrotriche Hottoniiflora).
Man at Supper with Attendants
Felice Giani, Italian, 1758–1823, 1795–1810
Pen and bistre ink, brush and ink wash on paper
Drawing

Horizontal rectangle showing a classical scene of bearded soldier seated on a klismos chair at a table with a bowl of food in his hand tuning to two attendants who approach with food and drink. Pencil framing line.
Along the Beach, Illustration for Scribner's Monthly (XVIII, No. 5, September 1879, p. 643)
Frederick Stuart Church, American, 1842–1924, September 1879
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Monthly on the history on Sandy Hook. Scene of a beach. Beach grasses and tree.
Fragment
, 19th century
silk Technique: 5-harness satin damask

White damask with a pattern of symmetrically swinging broad bands with flowers and foliage enclosing central symmetrical group of flowers, grapes and wheat.
In the Yosemite Valley
Thomas Moran, American, b. Britain, 1837–1926, 1872
Brush and black ink, gray wash and white gouache on cream-colored paper
Drawing

Vertical view of a rocky stream in the foreground bottom, followed by pines in the middle ground, with a snow-covered peak in the background.
Elevation of a tower; fountains; staircase
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Vertical rectangle. -a: At left, two circular stories rise upon a dado. The lower one shows embedded columns and a dial in the central intercolumniation. On top is a high point upon a spiral rising from a low circular story of small width. Right row, -b,c: Minerva stands upon a circular pedestal on top. The water pours in -b from lions crouched radially upon a circular base; in -c from the jaws of stream gods, and from a lion which is tentatively suggested crouching upon a lower base.Verso: in opposite direction of -a/c, -d: two sections are sketched, one of them with inscribed measurements, and a plan with measurements. Calculations.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Below are four curved steps, interrupted laterally by two pedestals with huge vases, either with a burning candle. The main structure of the monument is a pedestal. It has below two offsets, like parts of an octagon at the front. The second has below mouldings of a base and in the central part the shape of a sarcophagus, supported by two lion feet, and with inscription. The next offset is a smaller pedestal with a rectangular base, which is laterally elongated by obliquely standing cubes. Upon either of them stands a female allegory leaning upon the entablature of the central part of the pedestal. This is decorated with a festoon, a mitre, a crozier, and a cross. In front of the base and the lower part of the central part lies a royal crown upon a cushion. The upper part of the pedestal is a lower part of a column, whose shaft has below a leak calyx and above flutes. On top is a woman with a cross beside her, which she supports her left hand. She carries together with a small angel a medallion with a bust portrait. Laterally are parts of the pillars framing the chapel. Scale and background similar to 1938-88-1288.
Fragment
, 14th century
plain weave linen Technique: block printed with silver pigment

Coarse dark blue linen ground with design printed in silver. Paired confronted deer (or horses) with flanking foliate scrolls.
Study of a stream
Francis Hopkinson Smith, American, 1838–1915, 1870
Brush and watercolor, gouache , charcoal on paper
Drawing

Sketch of a narrow stream in the forest with large rocks lining the banks.
Thames Barges
Samuel Colman, American, 1832–1920, 1872
Brush and watercolor, graphite on paper
Drawing

Five designs of Thames barges, each on a separate row. Between the top and the second row, the after part of a barge is shown, at right. Verso: At top, a medieval castle and two house roofs are shown in the back rising over trees. A meadow and a river with barges are shown in the foreground. At center, two sail boats. At bottom, mountain peaks shown between slopes.
Tsuba
, 17th century
Iron, shakudo (a soft copper and gold alloy)

This tatsu (iron) tsuba is kiku (chrysanthemum) in shape and pattern. Ji sukashi (cutout) workmanship forms the flower's petals. At the center is the nakago-ana, an opening through which the sword passes, surrounded by a migaki (smooth) surface with chisel marks and remnants of sekigane (plugs added to fit the tsuba to a sword) made of shakudo (a soft copper and gold alloy).
Design for a Cornice
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a cornice decorated with ornament motifs including palmettes, bound leaf, rosettes, garland, egg and dart, and lamb tongue. The plate is signed and numbered.
Hillside and Cloudy Sky, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Oil and graphite on paperboard
Drawing

Landscape sketches showing two distinct topographical views, separated at center. At left, partially rendered cattle graze upon a green, wooded hillside. At right, a partly cloudy twilight sky shines above a prominent, wooded hill. Beige ground visible at margins.
Button
, 19th century
Steel

1931-59-262-a/c: Three buttons with scalloped edges at central boss...
Tiraz tapestry
, 10th–12th century
Warp: linen. Wefts: linen in plain weave area, silk in tapestry area Technique: plain weave and tapestry

Tapestry band in red and beige reaching from one side to the other.
Opera (Peep-show)
Martin Engelbrecht, German, 1684–1756, 1730–50
Engraving, brush and watercolor on paper
Peep-show

1937-38-9-a: Six figures in histrionic poses in a setting of ar...;     1937-38-9-b: Six figures in histrionic poses in a setting of ar...;     1937-38-9-c: Six figures in histrionic poses in a setting of ar...;     1937-38-9-d: Six figures in histrionic poses in a setting of ar...;     1937-38-9-e: Six figures in histrionic poses in a setting of ar...;     1937-38-9-f: Six figures in histrionic poses in a setting of ar...;     1937-38-9-g: Six figures in histrionic poses in a setting of ar...;     1937-38-9-h: Six figures in histrionic poses in a setting of ar...
Fountain and Grotto
Giuseppe Barberi, Italian, 1746–1809, 1800–1830
Pen and brown ink, brush and brown wash, bistre on off-white laid paper, lined
Drawing

The rim of the basin is shown at the bottom. A dragon seated in a cave allows water to fall from his raised mouth. Three women sleep on the rocky walls of the cave. Above is a rustic wall with a niche containing the group of Hercules having taken the apples of the Hesperides after Atlas took back the sphere.
Project for a Fresco in the Dome of the Cathedral in Citta di Castello
Tommaso Maria Conca, Italian, 1734 – 1822, 1789–90
Graphite, pen and ink, brush and sepia wash, blue and yellow watercolor, on paper
Drawing

Christ, the Virgin, and Saint Florido interceding on behalf of mankind to God the Father: Christ, by pointing at the Cross and other instruments of his Passion. Angels and Saints. Below: four windows with two angels between each one fastening garlands.
Egg Cup, Teapot, and Goblet
Richard de Lalonde, French, active 1780–96, 1788–1796
Etching on off-white laid paper
Print

Designs for an egg cup, a teapot and a goblet. The objects are decorated with ornament motifs including fluting, bead course, scrolls, a rooster head spout, a pinecone or pineapple finial, ribbon twist, leaves, and drapery. The plate is numbered.
Medal
Victor David Brenner, American, b. Lithuania, 1871 - 1924, 1906
Engraved bronze

Circular form; obverse: bust of Abraham Lincoln facing right flanked by engraved dates, 1809 / 1909; reverse: eagle on rock over sea; in field: "PRESERVE PROTECT / DEFEND".