biglam/cooper-hewitt-alt-text huggingface dataset:
Robed figure with tie around waist
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing figure in robes with a tie around his waist. His left arm is bent at the elbow and his hand is by his chest. He extends his right hand and holds something in it.
Covered Bottle
, 1750–1800
glass, silver?
bottle

Double ogee form, tall neck; flat circular base with scalloped edge, star cut on bottom; body cut with flat geometric patterns; silver(?) cover with straight sides, conical top, both with twisted incised lines; flame finial.  Glass has blue cast.
Sampler
, 17th century
linen embroidery on linen foundation Technique: withdrawn element embroidery with needle-made fillings on plain weave foundation

Central part of a whitework sampler with bands of pattern.
Architectural Details
Arnold William Brunner, American, 1857–1925, 1877–80
Graphite on paper.
Drawing

Base of pier, and moulding for the Central Church. Base and string course for the Emanuel Church.
Sea with Tall Cliffs and Dramatic Light
William Trost Richards, American, 1833–1905, 1885–90
Graphite and white gouache on cream wove paper, bound
Sketchbook folio

Sea in foreground with tall, dark cliffs at left. In sky at right, dramatic sunlight over clouds.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist in a jacket and tie; three-quarter view.
Sidewall
, ca. 1875
Machine-printed

Fragment of irregular outline. All-over pattern of vine foliage set with conventionalized floral shapes, in slight outline.
Sketchbook Page: Jet
Kenyon Cox, American, 1856–1919, June 17, 1875
Graphite on paper
Sketchbook folio

Sketch of a dog laying on the ground, within a rectangular border. Below, sketches of smokestacks.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, textured, liquid mica

On light gray ground, purple and pink scroll treillage with floral motifs.
Sidewall
Eckhardt Brothers, ca. 1730
Ink and water color on handmade paper

Large, fantastic flowers connected by branches, in the manner of chintzes; polychrome, with black contours, on unpainted ground. Paint rubbed off on numerous places. On back: excise stamp with faintly visible G R.
Sidewall
, 1890–1920
Block-printed on paper

Realistic rendering of purple-blue iris, green leaves, on cream ground.

NOTE: 34 duplicates in W131 (61:1:1)
Textile
, 1785–95
cotton Technique: block printed on plain weave

Large scale design of a woody vine with exotic flowers, parrots and smaller birds, in shades of brown, tan, rose, red, blue, and faded violet on an off-white ground.  Fine picotage around parrot's eyes. Right selvedge present.
Sampler
Isabella Parson, English, 1832
silk embroidery, cotton and wool warp, wool weft Technique: embroidered in cross stitch on plain weave foundation

Four verses from Psalms.  Signed, dated, aged 9 years, Lady Fane's school.
La Cardeuse (The Wool Carder)
Jean-Francois Millet, French, 1814 – 1916, ca. 1856
Etching in brown ink on cream-colored paper
Print

In a rustic interior a peasant woman sits before baskets of woll, carding some in her lap. Behind her, left, is a large spinning wheel.
Vase
, ca. 1800
Blown and cut glass

Ovoid body tapers to thin neck, wide flat lip with turned up rim. Hyacinth
Designs for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on brown paper
Drawing

Horizontally-oriented diamond shape filled in with flowers and foliage. Five plants form a backwords S-shape laid horizontally. From left: first brown stem with four yellow tufts dangling from three ends. Two with tops to the left, one facing right. Second: brown stem with green foliage and maroon blooms facing downward. Third: two branches once facing up and one down with green foliage and clusters of green berries. Fourth: brown branch with white and yellow tufts facing downward. Fifth: placed above the rest of the composition with three light brown stems and green foliage. Guidelines in graphite are visible with the diamond bisected horizontally and vertically. On green-brown ground.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Purple leaf design, black branches on white ground.
Equipment Used for the Production of Passementerie
Robert Bénard, French, 1734–1772, ca. 1775
Engraving on paper
Print

Equipment Used for the Production of Passementerie.
Common Council Chamber, Guildhall, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolor on paper
Print

Domed meeting room, with council in session. Onlookers, foreground, before a low sceen. Paintings on the walls. Title, artists', and publisher's names below.
Band
, 1670–90
linen Technique: needle lace

Lace band showing small-scale scrolling floral forms with raised outlines. A variety of filling stitches lightens areas of dense buttonhole stitches.
Jar
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, early 18th century
soft paste porcelain, vitreous enamel
jar

A) Circular on narrow foot, with straight sides
B) Slightly domed cover with simple knob.
Decorated with underglaze blue lambrequin design.
Drawer pull
, ca. 1500
Wrought and pierced iron

With corners disposed on vertical and horizontal axes, the backplate is pierced and wrought to form quadranted design of grooved foliations. Its brad receives the spatulate open drop handle, flattened at the bottom to form one interior and one exterior point.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Landscape scene with houses and a windmill, clusters of trees.
Border
, late 17th–early 18th century
linen Technique: needle lace

A border with foliated and floral forms in partial relief set within repeat scroll pattern.
Narumi, A Place Famous for Its Cloth, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

One side of village street with two shops for selling stencilled fabrics. Over the nearest is cipher of Hiroshige. Lower left, along the road, woman in a litter with two women attendants. Another, in rear, on horseback.
Design for a Wrought Iron Light Fixture
Mary Morison Brownson, American, January 30, 1894
Pen and ink, watercolor on Bristol board. Red seal.
Drawing

Vertical rectangle. A lantern fixture, suspended from a wall bracket.
Square
, 1866
silk Technique: printed on plain weave

Commemorative square celebrating Lord Lyon, the British thoroughbred racehorse that won the Epsom Derby in 1866. In the center is the horse and rider surmounted by a large blue bow. A circle of medallions surrounds them, each medallion containing the name of the winning horse from years past. The border contains a dense framework of additional medallions, each with winning horses from years that extend back to the 18th century.
Border
, ca. 1800
Block printed on handmade paper

Soffitt or architectural design with coffers enclosing rosettes alternating with acanthus modillions. Probably meant to be seen from below but back of paper, "b" has traces of underlying sidewall paper. Fragment "c" is portion of this latter paper. Shows arabesque design with flowers. Printed on gray ground.
Door and Over Door, Blue (South) Drawing Room
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on white wove paper, silhouetted
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Design for a section of a wall, with double-doors bearing painted panels of lattice-work design and geometric pattern. The over door consists of a painting of Chinese figures in a landscape.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On textured light gray-lavender ground, light green treillage in octagonal shape containing singular purple flowers with four green leaves.
Plum Blossom Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Scattered around the stencil are plum blossoms and buds.
Easel and frame
, 19th century
gilt bronze

Frame, easel
Oval frame with bronze cupids at top - easel
Moonflower
Arthur Wilcock, ca. 1890
cotton Technique: roller printed on plain weave, duplex
Textile

Fragment in shades of blue-green with some white has a design of stylized clumps of daisies, poppies and marguerites standing straight on long stems. Heavy cotton with slight weft ribbing.
Greeting Card
, ca. 1880
Chromolithograph
Trade card

A c-shaped garland of foliage and flowers, a hand with a red bracelts pokes out from underneath at left and a blue bird sits on a branch at right.
Rough Sketch of Calm Sea and Beach
William Trost Richards, American, 1833–1905, 1870–85
Graphite on cream wove paper, bound
Sketchbook folio

Rough sketch of beach with calm, flat ocean coming on shore.
Plate XXI from Theatrum instrumentorum et machinarum
Julio Paschale, 1582
Woodcut on paper
Print

Showing a machine on wheels pulled by horses and using pulleys, screws, and a clamp - shown above. The machine lifts a large pipe onto the cart, worked by six men. Description in Latin on verso of 1949-152-227.
Study for "Law," Lunette in Hudson County Courthouse, Jersey City, NJ
Kenyon Cox, American, 1856–1919, 1910
Charcoal and graphite on off-white wove paper, laid down
Drawing

Seated allegorical female figure representing the Law.  She holds a tablet in her right hand, while her left arm gestures towards a dragon, crushed under her left foot.
Textile
, late 19th century
cotton Technique: printed

Allover design of floral sprays in polychrome with small widely-spaced polka dots on a white ground.
Dish in Shape of a Silver Sauceboat Stand (One of a Pair)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1750–1752
soft paste porcelain, vitreous enamel
dish

Dish with scalloped edges in ovoid; at center, bunch of grapes on stem with leaves and insects.
Mural Decoration, Dome of the Manufactures and Liberal Arts Building, World's Columbian Exposition, Chicago
Walter Shirlaw, American, b. Scotland, 1838–1909, 1892
Photograph printed on sensitized paper
Photograph

In the center, a spider's web. At the four corners, standing allegorical figures representing Abundance. At four sides, tablets inscribed: ABUNDANCE, OF LAND, AND SEA, 1892.
Study of landscape
William Trost Richards, American, 1833–1905, 1867
Graphite on paper
Drawing

Sketch of trees with mountains in the background.
Designs for Two Ewers and a Swing-Handle Bowl
Luzio Romano, Italian, active 1528 – 1575, mid- 16th century
Pen and brown ink, black chalk on cream laid paper
Drawing

At left: design for bowl with swing handle. The handle, decorated with applied female forms, is formed by double arches that are connected in the middle by a ring and are hooked to each side of the bowl's rim between the horns of goats' heads. The bowl's body is ornamented with draped festoons, acanthus leaves and a central female mask with fan diadem. Lower center: Design for small ewer shaped as an armless, elongated female form: her head supports a shell spout; her lower body tapers at the base to a simple circular foot; the handle is formed by forward curving scrolls connecting to the shell and form's back. The body of a vessel is also  lightly sketched in the lower part of the design.  At right (larger in scale): Design for a ewer with neck formed by female torso; a shell spout rests upon her head. The body of  this vessel is relatively plain with bands of gadrooning at the bottom; the vessel rests upon a circular pedestal base; its handle is an elaborately-curved, ribbon-like scroll which connects the shell spout to the shoulder of vessel.  At lower right: Small sketch for variation of the ewer at the right.
Beach Scene with Women Carrying Baskets, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881–82
Graphite on gray-green paper
Drawing

Horizontal view of a beach with women carrying baskets, awaiting the return of a fishing fleet, shown standing in toward shore across upper portion of sheet, and sketches of three boats and a woman with a basket across lower portion of sheet.
Decoration du côté des Fenestres, d’un grand Cabinet sur les Desseins de Monsieur de Chamblin
André Basset, French, active 1749 – 1787, ca. 1765
Etching and engraving on laid paper
Print

An interior wall elevation featuring a central mirror flanked by windows and rococo paneling. The central mirror, over-window and panels are decorated with fleurons, c-scrolls, acanthus leaves, foliage, shell, and dragon motifs, and bundles of rods entwined with leaves. The dado level below has moldings and similar rococo ornament. Against the dado level, below the mirror is a console table ornamented with gadrooning, cartouches, fleurons and intertwining snake motifs. The plate is titled, labelled, and with the publisher's address below
Decorative Monogram Design
Pierre Ranson, French, 1736–1786, ca. 1780
Etching and hand colored in watercolor on paper
Print

Design for a decorative monogram for the letter D? featuring flowers, leaves, berries, and water motifs  The letter is topped with a crown of flowers. The plate is numbered, signed and hand colored.
Children Playing Shuttlecock
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Print

Print from a series of fourteen chinoiserie vignettes, depicting children playing a variety of games in different landscapes. Three children playing in a chinoiserie-style landscape, framed by trees, foliage and rocks, with a fence in the background. Two children stand facing each other playing shuttlecock. A third child sits, back to the viewer, holding a stick with a ring hanging from the end. The plate is signed
L’Auteur des Figures à la Grecque
Ennemond Alexandre Petitot, French, 1727 – 1801, 1771
Etching on paper
Print

Print titled ‘L'Auteur des Figures à la Grecque', from a series of 10 plates featuring fanciful costumes inspired by Ancient Greek and Roman ornament and architectural motifs. A standing male figure draped in fabric, wearing a striped headdress and square eyeglasses  holds an architectural plan and a caliper over a large book on top of a broken fluted column, with a large ruler leaning against the figure and column. An upside-down capital is at his feet and he stands in a landscape with a pyramid and trees in the background to his left. The plate is titled, signed and numbered.
Sketches of Horse Heads and Hooves
, ca. 1745–1811
Etching or engraving on paper
Print

Several sketches of house heads and hooves
Fragment
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool. Technique: slit tapestry with supplementary weft wrapping.

Oval medallion of a leaf tapering to a twist at each end.
Ornamental Medallion Designs
Théodore Bertren, active in France, 18th century, 1765-1768
Etching on paper
Print

Two oval designs, one above the other. The top oval has two doves, one of which is gripping a quiver of arrows. The lower oval has attributes of the hunt, including a horn, a rifle, a pouch for gun powder, a sword, a dead hare, and a dead pheasant. The plate is numbered but not signed.
Design for Ceiling Decoration, Probably the Muses
Pietro Antonio Novelli, Italian, 1728 - 1804, 1750–1790
Graphite, pen and ink on paper
Drawing

At left is a woman playing a viola, at right another with a lute. In between are visible the heads of two more persons. A flying putto strews flowers. Framing ink line.
L’Arc de Constantin a Rome
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the arch of Constantine in Rome with buildings in the background and the colosseum to the right. Figures along the roads and under the arch. The triumphal arch consists of three arches, columns, statues, and friezes.  The plate is titled and signed.
Bruyeres et Marguerites
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Etching on paper
Print

A floral bouquet of heather and daisies, sprigs with flowers and leaves tied together with ribbon. The plate is titled and numbered.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rococo cartouche design with a blank oval shield above, topped with a crown. The cartouche is formed by a large shell motif, with flowers and foliate branches. The upper left, features the sail of a ship and below a trident, with a shell, and leaves.  The plate is numbered and lettered.
Cartouche with Putti Mounting a Tent
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on cream laid paper
Bound print

Design for an upright symmetrical cartouche, topped by a dragon; armorial trophies at upper right and left, vegetal decoration throughout, and a mascaron at lower center. Within the frame, a scene of putti figures setting up a tent or structure by draping fabric over tree branches. One putto sits on a drum and holds a banner.
Jungle Foliage, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Oil and graphite on bright green paperboard
Drawing

Landscape sketch showing a view of tree ferns and other vegetation in the dense Jamaican rainforest. At center left, a tall tree fern with a broad, arching canopy serves as the focus of the composition. At right, two other tree ferns are shown surrounded by thick foliage, while at left, similarly lush greenery helps frame the view. Above, blue sky is visible through a break in the jungle canopy.
Shawl
, mid-19th century
vegetable fiber (aloe?) Technique: machine-made lace

Triangular-shaped shawl of machine lace. In the center, the pattern shows a bunch of roses with two curved rose vines on either side. Slightly scalloped border of guilloche and lobes with flowers.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a rocaille frame for a painting, with a cartouche in the center printed with the series title. The frame and cartouche are decorated with attributes of the hunt. The plate is numbered.
Shoes
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Six sketches of lady's shoes. Detail of overall style and color scheme.
St. Aignan Evêque d'Orleans (St. Aignan Bishop of Orleans), plate 111, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

In arched niche, kneeling figure touched by light streaming in from ceiling; two female figures in background.
LA PLACE DES VICTOIRES
Adam Perelle, French, 1638 – 1695, 1686–1703
Etching on laid paper
Print

View of the Place des Victoires (Square of Victories) in Paris with a large statue of King Louis XIV on a pedestal with seated figures in chains below. Buildings framing the square with a road in the center background. Figures, merchants, horseman, and horse drawn carriages throughout the square. The plate is titled with a description below.
2eme Partie de l’escalier spiral
Alexandre Tessier, French, active 1800 – 1830, early 19th century
Etching and engraving on paper
Print

A second view of a design for a spiral staircase with balusters featuring acorn finials at the lower ends by each step. The title below the previous plate refers to the staircase as an English type. The design is titled and the plate is numbered.
Project for a Chimneypiece
, late 18th century
Graphite, pen and ink, brush and sepia on paper
Drawing

The right half of a chimneypiece. In the frieze are dancing figures. Above the entablature is a rinceau with a singed putto. Beside is a winged figure and candelabrum motif with a vase and peacock.
Project for the Decoration of an Oblong Panel
, ca. 1840
Pencil, pen and ink, white chalk on brown paper
Drawing

Horizontal rectangle showing a tripod standing in front of two oblique trees and flanked by a wreath and an urn.
Courtyard
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a courtyard.
Ceiling Cabinet Dedicated to War, Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, brush and gray wash over black chalk ruled lines on light greenish-beige wove paper
Drawing

Ceiling divided into 8 square and 5 rectangular compartments, each with central motif. Central horizontal rectangular panel shows Triumph of War: at left, mounted warrior in classical armor fights footsoldier; at center, warrior in horse-drawn chariot and above Victory with trumpet; at right, other combatants of opposition and Victory with trumpet. Victories in square panels at four corners: three record on oval shields, and fourth holds trophy of classical armor. In four square panels at center of each side are octagonal motifs with four winged genii forming Maltese cross pattern. Representations of double pairs of wings (probably of eagle), in four rectangular panels flanking center squares of long sides.
Valère Basilica, Sion, Switzerland
Frederic Edwin Church, American, 1826–1900, August 25, 1868
Graphite on white wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of the Valère Basilica in Sion, Switzerland. The massive, rectilinear, multi-tiered structure of the basilica is visible atop a rocky prominence at center. Below, an unfinished sketch of a sharp, craggy, snow-covered mountain peak is visible. 

Verso: Landscape sketch showing a view of a city skyline below a vibrant, cloudy sunset. At center, an arched structure is visible with a dome in the distance to the left. The city itself is hastily shaded.
Exhibition of 1889, The Committee
Frederick Stuart Church, American, 1842–1924, 1889
Printed in black ink on paper
Ephemera

Photograph includes Murphy, Moeller, Nicoll, Hamilton, Ward, Gifford, Moran, Church, Miller, Dielman, and Hart.
Vignette with a Blank Oval shield
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

Vignette with a blank oval shield in the center, surrounded by flowers, stars, a globe, measuring devices, rulers, rolled up papers, books, a lyre, quill in an inkpot, a stand with a caged bird on top. The vignette is set within a landscape with clouds. The plate is numbered.
Vision of the Cross
Frederic Edwin Church, American, 1826–1900, 1860–85
Brush and oil paint on tan paperboard
Drawing

Landscape sketch showing an imagined scene of a metaphorical landscape. Divided between a lush and a barren landscape, this work may be a continuation of Thomas Cole's unfinished "The Cross and the World" series, which symbolically represents the spiritual and earthly paths through life. Here, two figures walk beside each other in the foreground at lower center right. Beyond them, an immense, craggy, and dark mountain range in the middle distance divides the composition between an empty, barren, and cold landscape at left, and a lush, bright one at right. A luminous Christian cross hangs over the landscape at left, glowing above a misty blue expanse as if an apparition. In the foreground at left, at the opening of the barren, "spiritual" landscape, the bloody carcass of what is likely a deer stains the ground around it. This rolling, foreground landscape appears covered in snow. Dark clouds hang above central mountain range and lead into the lush, mountainous landscape at right. A curious, glowing, yellow-green waterfall is framed by a group of three palm trees amid a dramatic and misty cliff-strewn landscape. The waterfall produces a river or stream that flows into the foreground at lower right before freezing. Meaning of this and similar works largely uncertain.

Verso: Sketch of a frame for a painting, whose upper and left sides are missing. The lower right corner fits into the lower right corner of the leaf. Rounded decorations loosely rendered along the lower portion.