biglam/cooper-hewitt-alt-text huggingface dataset:
Ceiling paper
, 1905–1915
Machine-printed paper, applied mica flakes

Flitter ceiling paper with quatrefoil shape with center fill of applied mica flakes centered within a larger quatrefoil shape composed of scrolling lines with strung beads. Printed in green, purple, and yellow on off-white ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Printed two borders across the width. Alternating tall and short floral motifs, with a stemless flower separating each. Very lineal fill around floral motifs. Printed on dotted or dashed-pattern background.
Mourning picture
, ca. 1810
Hair, cardboard, brass, velvet, glass

Oval brass form surrounding scene made of hair, depicting tomb monument topped by urn and inscribed: "Triste souvenir d'une soeur cherie." ("Sad Memory of a Cherished Sister") Tomb flanked by tufts of grass with a weeping willow tree behind, all under a domed glass cover.  Mounted in blue-green velvet-covered oval case, interior covered in grey-green velvet.
Under the Falls, Catskill Mountains
Winslow Homer, American, 1836–1910, September 14, 1872
Wood engraving in black ink on paper
Print

Two women with mountain climbing sticks look at the waterfall.  In the middle ground, a man and woman climb the hill and, in the background, smaller groups of people can be seen along the edge of the cliff under the falls.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf in three shades of magenta, yellow, and black. Border contains asters on stripped ground and field is plain magenta.
Fragment
, 18th–19th century
silk, metal Technique: embroidered on plain weave foundation

Mughal-type embroidery fragment with alternating rows of red-orange flowerheads and green and metal thread herringbone stripes.
Panel
, 19th century
silk Technique: tied resist patterning in warp; cut supplementary warp pile (ikat velvet)

Length of ikat velvet with a wide central panel and two side borders. Center has a brilliant red pattern of a plant form with branching leaves in blue, green and yellow. Side borders have a lighter colored pattern of simulated plants forms between blue borders and narrow warp print borders.
Sampler
, 19th century
wool and silk embroidery on cotton foundation Technique: embroidered in satin, eyelet, tent, and plush stitches on plain weave foundation

Unfinished sampler with bands of floral and geometric pattern.
Bridge for the New York Connecting Railroad, Queens Boulevard, Long Island
Arnold William Brunner, American, 1857–1925, 1910–20
Graphite, pen and black ink, white chalk on paper
Drawing

View of a stone bridge from angled perspective. Trees on left.
Bracelet
, ca. 1837
Hair, gold, ivory, seed pearls, pailettes

Band of tightly braided brown human hair hinged with gold mounts to oval framed decoration of pearls, pailettes, hair and the initials MAS in form of horn-of-plenty
Shoreline with Breaking Waves and Puffy Clouds
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Shoreline with waves rolling onto shore. In sky, at right, puffy clouds.
Textile
, 19th century
silk and metal embroidery on linen foundation Technique: embroidered in cross stitch on plain weave

Three pieces of embroidered linen, with design arranged in narrow panels. Stylized flower heads on either side of straight vine, worked in red outlined in pink; in gold thread outlined in brown; and in green for stems. Panels separated by bands of white drawn work. Probably taken from trouser legs.
Sidewall
, 1900
Machine-printed on ungrounded paper

Moire design, shades of green on clear mica grounded paper with horizontal ribbing.
punched work fragment
, 18th century
silk Technique: painted and punched work with embroidery

Fragment of cream-colored silk pierced or punched to imitate lace insertions with a band of painted dots and V-shapes in between. Multicolored embroidered sprigs with blue tassels on left side.
Sidewall
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper

On red patterned ground, metallic gold, red and white motif alternating in vertical columns; gold floral bouquets in tripartite formation rest on short pedestals.
Samurai Warrior
, late 19th century
Brass
Matchsafe

In the form of a Samurai warrior, in full costume, with sword beneath garment. Head and shoulders form lid which, hinged on back, flips backwards to open box. Small feet are attached to striker on bottom.
Sidewall - fragment
, 1860–1900
Machine-printed paper

On blue textured ground, alternating off-white and tan urn-like motifs; wreathed in plumage and flowers; secondary  motif of off-white and tan bouquets.
Ocean Scene, perhaps New Jersey
William Trost Richards, American, 1833–1905, late 19th century
Brush and watercolor, white goache and graphite on white wove paper, lined
Album page

Land and rocks (foreground) looking toward ocean with sailboats and distant land mass at right.
Flounce
, 1700–1750
linen Technique: bobbin lace, Brussels style

Flounce fragment with large medallions separated by interconnecting bands and surrounded by floral and foliated sprays, fantastic animals, and rocaille ornament. Medallions composed of alternating scenes; one showing seahorses driven by Neptune holding a triton beneath which are sea animals and additional rocaille decoration with birds perched in foliated branches. The other cartouche is topped by a large trophy above which a winged bird carries a floral spray.
Two elevations of a doorway
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The door openings are cut in a niche, topped by a medallion and flanked by columns carrying an inscription tablet. The bottom design shows another tablet over the niche.
Curtain
, early 19th century
cotton Technique: plain weave, gauze

Short window curtain with checks of different weaves, including gauze.
Project for Part of a Painted Decoration
Pietro Antonio Novelli, Italian, 1728 - 1804, 1750–75
Pen and black ink; brush and black wash and white gouache over a green crayon wash.
Drawing

Hercules is seated on the left volute of a pediment featuring a medallion portrait of a woman. On the right volute, a woman is seated against a background of a trophy with attributes of war. She gestures toward the medallion.
Pin cushion
, late 18th century
silk, glass beads Technique: chenille and bead embroidery on satin

Pin cushion in the shape of a triangle and made to hang. Embroidery shows a design of a vase and flowers with a worn inscription.
Etruscan Wheel
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, circular design composed of four concentric series of rays of various notched or serpentine outlines, with three intervening concentric serpentine bands. Yellow, green, and pink transparencies.
LE PRINTEMS
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing the spring with three winged putti playing in a landscape with a basket of flowers to their right with strewn flowers between them. The central putto holds a crown of flowers above the head of the putto to the right. The plate is signed, titled, and numbered.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, before 1666
Etching on laid paper
Print

Two frieze designs with putti, festoons of fruit and leaves, mascaron (mask), portrait bust, scrolling leaves (rinceaux), foliate branches, and a shell. The plate is signed and numbered.
Nihonbashi from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

The bird's eye view overlooking rooftops in a district in Edo during the night. Mt. Fuji accompanies the light and dark silhouettes of the bridge and city.  Purple clouds frame the top and bottom of the print
Design for a fountain
Giuseppe Barberi, Italian, 1746–1809, 1787–88
Pen and brown ink, brush and brown wash, on cream laid paper, lined
Drawing

Four putti sit upon a circular pedestal, supporting the upper basin on their heads and raised hands. Two dolphins with raised and entwined tails are in the center if the upper basin. Out of the dolphins' tails, water springs up and flows down into the top and bottom basins. Below, the rim of the lower basin is lightly sketched.
Perseus and Andromeda
Michael Hartwagner, German, d. 1775, 1745
Etching and engraving on off-white laid paper
Print

Scene from mythology of Andromeda, chained to a rock, being rescued from a sea monster by Perseus, who flies through the air. Nude water nymphs recline in the foreground. The plate is signed and numbered.
Design for the Embroidery of a Lady's Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1790–1800
Graphite, brush and gouache on paper
Drawing

Ruffled yellow edge along the rising part of which are two alternate three rings of a chain, with standing and hanging boughs and a fantastic plant. A plant is in the corner.
Sidewall and border
, ca. 1800
Block-printed on handmade paper

Paper printed with intersecting ellipses in brown on neutral yellow. Border, across top, has leaf forms in brown and black on neutral yellow, and is edged with alternating hollow and solid black squares on brown field. Vertical rectangle.
Ceiling paper
, 1890–1900
Machine-printed

Medallions formed of acanthus-like leafs, printed in gold and blue, with medallions joined by blue C-scrolls, printed on cream ground. Pattern number "3528" printed in selvedge.
Console tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Lower row: two left halves of projects. Frame and top have the shape of cornices of an entablature, the leg has the shape of a wingless chimera. A support in the center is added, being at left a column with a row of figures representing women around the shalf, at right a panel supporting a cube with a figure. Leg and support are connected in the left project by a festoon. The lower parts are lacking in both designs. Partly above the left one is drawn in graphite part of a sketch of a vase. Center: a console table similar to that at left, below, the central support being a square pedestal with a representation. Standing upon the table is an oval with the representation of a head supported by a base and framed by two figures. Above, at right: the left side of a console table with four legs. These are eagles springing below from a calyx, above a base. Above is the left lower part of the same object as on the table, in the center. Above at left, the left side of a console table seen from below. The foliated post springs from a calyx and has a mask above, with a pediment volute. In the front of the frame is a festoon. Usual background.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery at the border of a man's waistcoat. A fantastical tree grows fro mthe edge of the half of an umbrella rosette. It is flanked by two circumscribed palmettes which together with a pair of smaller ones support bunches of flowers beneath the centres of the segments of the bottom edge of the pocket. A "flanked rosette" motif and leaf rinceau are shown beside the edge of the waist-coat.
Trimming
, 19th century
silk Technique: woven

Pink and yellow trimming fragment in a design of a central band with four-petal flowers separated by curving lines and between broken borders.
Interior of a Dutch Cottage, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

A woman sits at the hearth. A man and a cow are in the background.
The Three Graces
Agostino Carracci, Italian, 1557 – 1602, ca. 1590
Engraving on paper
Print

Vertical format. Three standing female nude figures, the figure at left viewed from behind, the woman at center viewed from the front, and the woman at right turned to the side. Each wraps their arms around the others, the woman at left hides her nudity with her hand. The women stand in a desert landscape. Black framing line.
Study for the First Plan of Solomon's Temple, Plate 420, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown ink on cream laid paper
Drawing

A group of robed men, pointing and conversing with each other, appear in the left foreground. They are standing on a flat surface in an open space, with a brick wall on the left and behind them. A few other robed male figures are dispersed throughout the picture. Mountains appear in the background. A large sheet of paper with an architectural plan is positioned in the upper center of the composition, hanging from the elaborately ornamented frame bordering the picture.
Proofs for Four Plates of "Alfabeto in Sogno" [Dream Alphabet]: Letter E
Giuseppe Maria Mitelli, 1634 – 1718, 1683
Engraving, brush and watercolor, red crayon on white laid paper
Print

Central image of a page holding a plate with a fish that forms the letter E with smaller drawings of two women's heads, four details of women's heads, and an elephant.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a trophy of two birds in a nest, with a harp, and quiver of arrows, hanging from ribbons interlaced with a crown of flowers, bow and arrow. The trophy is framed by sprigs of flowers and leaves, and a hanging festoon of flowers and leaves.
Carrizo Reed Plant, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on white wove paper; verso: graphite
Drawing

Botanical sketch of a carrizo reed plant. Two tall plants--five in total--comprise the central focus as they bend downward and to the left.

Verso: Botanical sketches from Ecuador showing a view, at left, of a tree fern and, at right, two separate plants.
Design for Gateway
, 1750–1775
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Horizontal rectangle showing design for two gateways. Left one topped by oval medallion. Right topped with balustrade.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel of grotesque ornamentation with a term of Bacchus at the center under a baldachin. The composition also features a dancing, tambourine-playing bacchante and satyress, satyrs, goats, vines, monkeys (singeries), and other animals. The plate is lettered but not signed.
Black Basalt Coffeepot
Wedgwood, English, established 1759, late 18th century
stoneware
coffeepot

Tall, slightly swelling body, long loop handle, short spout; high domed lid with finial in the form of a draped female figure.  Sides of body (lower portion) and lid with basket-weave texture; wide band top section of body plain.
Plan du Chasteau de Maison appartenant au President de Maison
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a Castle with an inner courtyard, and a scale above. Numbers printed throughout. The plate is titled and signed.
Button
, 19th century
Steel

1931-59-256: Flat button with edge cut in gouges.
On card 5950
Design for Ceiling Decoration, a Barrel Vault
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The design of the oblong with the ruined painting is similar to that of -1538. It is framed by ramifications of a band, framing also the oblong panels with plants forming the central motifs in the lower section. An octagonal painting is suggested for its center; square paintings flanked by groups of children in conchiae, and parts of coffered vaults for the lateral parts.
Design for a Buckle
, 1825–50
Pen and brown ink, brush and gray wash on white laid paper
Drawing

The inner square has the shape of a quatrefoil. The two framing ribbons are beset with narrowly-standing diamonds. Between the ribbons and upon the points are round diamonds.
Title Page
André-Charles Boulle, French, 1642 – 1732, ca. 1715
Etching and engraving on laid paper
Print (bound book)

Title page for a series of designs for furniture featuring metalwork and gilt bronze mounts. The title is lettered within a cartouche in the lower center. Surrounding the cartouche an interior wall elevation framed by a curtain held up by flying putti. The wall features a central mirror, flanked by paneling with ornate carvings and decoration, vases and sculpture on pedestals and wall brackets. The decoration features grotesque motifs, scrolling leaves, c-scrolls, s-scrolls, hanging trophies, mascarons (masks), shells, floral motifs, fleurons, and gadrooning.
Figure
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a nude figure with arms raised and legs bent.
Designs for Trophies
, ca. 1800
Brush and gouache on paper
Drawing

On left, bottom of a banner staff with pink sash wrapped with branch with leaves, a lit torch, and tambourine. On right, a lit brazier decorated with mermaids and shell.
Fragment
, 1820–1825
cotton Technique: cut supplementary warp pile (velvet), printed

Fragment of a horizontal border has a black ground with two identical circular medallions enclosing a woman's head in profile. Neo-classical hair style is topped with a wreath of flowers.
Maison de Mr. de Mèzièrres à Eaubonne Vallée de Montmorency par Mr. le Doux Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a house with two exterior elevations, an interior section view, and three floor plans for the basement, ground floor, and first floor. The house features neoclassical motifs, columns, and statues in niches. The plate is titled, numbered, and signed.
Mount
, early 19th century
Gilt bronze

Vertical rectangle with repoussé figure of an eagle with raised wings, his right talon upon a sphere.
Interior of Gothic Cathedral
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined blued-white laid paper
Drawing

Interior of nave of Gothic church opening toward apses at right side toward choir in the back.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Above a disk, below three drops, each in the shape of a blossom. In the center a palmette. Bevelled corners.
Crest of a Processional Staff
, 1600–1650
Black chalk, pen and ink, brush and bistre on paper
Drawing

Below is the end of the staff. A calyx stands upon a bottle with bossed body. Upon it stands an oval frame, having a cherub below. Two angels kneel upon clouds and carry a chalice with the Host on top.
Fragment
, possibly 17th century
silk, metallic Technique brocaded damask

Stiff pomegranate shapes in diamond grid in red and gold.
Elevation of a town house
Giuseppe Barberi, Italian, 1746–1809, 1780-1785
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Three stories. At basement level, a door is flanked by windows with railings; inscription tablet above. Laterally, arched openings. The two top stories form a semicircle; two windows in a vertical row and a triangular pediment at the ends; five bays in the segment.
Design for a carved panel
Gilles Paul Cauvet, French, 1731–1788, 1770
Black and red crayon on paper
Drawing

Two winged female half-figures support a bowl from which a candelabrum plant rises; Cupid stands in its center.
Design for a Door and Doorcase
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The door has two foldings, either of them with tall rectangular panels above and below, and a small, wide rectangular central panel. The first ones have a lozenge with a standing figure and ornaments for which three different suggestions are made. The central panels frame a wide oval with a figure, recumbent. The entablature of the door frame is supported by two gaines with satyr heads, beside which are two pilasters, back at the wall, panels of which show an upright stem. Similar pilasters support the entablature above, framing the center panel of the overdoor. In front of it is a circular medallion with the bust portrait of a man in antique cuirass; beside it two kneeling mermaids. Above it weapons and colors of a trophy. The wall is colored.
Café scene
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a male figure with a top hat seated at a café with two female figures.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Below are bases. Upon them stand upon plinths a frame in TT form, and a receding vertical stripe on either side. The grame has inside a molding with an ovolo and a row of heads. It is decorated with a tyrsi surrounded by vine. They stand at the sides; two of them are fastened by a bow knot, above. On top are the cornices of an entablature. The measurements of the height of the bases and the stripes and of the width of the opening are indicated with graphite as "3 - 2" and "4 - 6 1/2", respecitvely. Plans and scale similar to 1938-88-8199.  Traces of framing. Base line, shadow lines at the edges.
Stage Design, Fortress
Alessandro Sanquirico, Italian, 1777 - 1849, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Court of fortress with stairs leading downward, bridge across vault.
The Great Sea-Sarpint
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story on sailors and sea-serpent
Fragment
, ca. 1890
cotton Technique: machine made

Machine net with embroidered pattern of baskets with flowers and small detached motifs above border of scallops with picots.
Figure with Child
Passerotti, Italian, 1529 - 1592, 1550
Pen and black ink, brush and brown-black wash on paper
Drawing

Seated male figure, head turned right, precariously holds a child in right arm. Overlay wash of partial figures also visible.
Sidewall
, 1845–55
Block-printed

Full width of paper giving portion of repeating design of foliage scrolls on paper printed with fine, close-set parallel lines.
The Vow of Jephthah
Gerard Jean Baptiste Scotin, the Younger, 1698–after 1744, 1725–45
Hand-colored etching with watercolor on paper
Print

Right portion of panel. Shows Jephthah standing with his eyes uplifted and one hand stretched out, among other men in armor, on a hill, beneath a tree. Below the hill, at right, are three soldiers and a chariot drawn by two horses.
Decorative Study; Verso: Two Head Studies
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink over graphite on laid paper
Drawing

Four studies of sarcophagi; temple friezes; two studies of coffered ceilings.
Grille du Château des Tuilleries
, ca. 1775
Etching on off-white laid paper
Print

Design for a gate by an anonymous artist. The plate is numbered but not signed.
Design for Cartouche Forming a Bridge (Horizontal)
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

A cartouche within a cartouche, forming a curved bridge on which a stag is pursued by two dogs. Below, a waterfall with a dog's head at center. At left, a bucket, fruit, leaves, a goose, and two heads of dogs. At right, a dog's head spouting water, to its right, a large leafy tree.
Sash
, late 19th century
silk Technique: jacquard woven

Narrow purple sash with two identical portraits of a woman in profile on each end. Finished with purple fringe.
Pot à l'eau
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a pitcher made of shells and rinceaux wrapped around, with partial crown on right. The plate is signed and numbered.
Sidewall
, 1895–1900
Block-printed paper, flock

Large stylized flower similar to 1946-17-4 with which this paper was used. Floral design is printed in red flock on a lighter red ground. From house built in 1812 in Burlington, Vermont.