biglam/cooper-hewitt-alt-text huggingface dataset:
Palazzo Quirinale, Rome;
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, gray wash, black chalk ruled lines Support: light greenish-beige wove paper
Drawing

Horizontal rectangle. At the sides are oblongs with inscribed hexagons in which are trophies for flying genii. Outside are oblongs with inscribed circular representations of Ares, Hercules, Zeus, Poseidon, respectively. At ends, in the center, are oblongs with circular representations of Hera and Athena respectively, between oblongs with trophies of arms. In the corners are squares each with five genii of two only the upper parts are shown. The frames of the panels are outlined.
Border
, 19th century
silk Technique: bobbin lace, white silk

White lace border with a pointed, scallop edge showing a geometric design of small squares of heavy silk arranged in diamond-shaped areas.
Textile
Soehnée L'Aine et Cie, ca. 1799
cotton Technique: block printed on plain weave

Pattern of large scale fantastical flowering branches printed in deep purple, red, green, blue and yellow on white ground.
Design for a Playing Card: Queen of Clubs
, 1825–1850
Graphite, brush and gouache on paper
Playing Card

Margaret of Valois is shown standing holding a rose twig in her right hand.
The West Gate, Winchester
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

Portion of a fortified wall, with a passageway cut through it.  The parapet is machicolated above.
Study of Plants and Rotten Tree Trunk, 155th Street
Walter Clark, American, 1848–1917, 1884
Graphite on paper
Album page

Big-leafed, low plants and grass before the obliquely lying trunk.
The Arts Mourning at the Tomb of Raphael
Felice Giani, Italian, 1758–1823, 1804
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Depiction of allegory: women mourn round sarcophagus in central foreground. Genius with lowered torch leans upon right corner. Palette and lyre lie against base. Stream god shown at extreme left, another bearded god at right. Procession of women comes from left rear. Some tombstones shown in middle distance.
Bucket or plate pail
, 1750–1800
mahogany, brass, bronze

Octagonal mahogany pail with straight sides. Four vertical openings cut in each side. Gilt brass band below molding at top. Semi-circular hinged bronze carrying handle, tapering towards ends.
Panel
, 17th century
linen Technique: withdrawn element work

Panel edged on one side with a border showing a design of birds and flowers.
The Crown of Thorns
, 1840s
Wood engraving on paper
Print

Two men with sticks press the crown on the head of the lord. Two soldiers watch.
Fragment
, 300–100 BC
cotton, wool Technique: embroidered in stem stitch on plain weave foundation

Figure of a dancer with head bent far backwards. Elaborate headdress. Small mask hangs from chin. Staff in hand. Cotton plain weave cloth solidly embroidered in tan, white, red, black, green, dark and light blue, brown and purple. Possibly once part of a large mantle.
Architectural Ornaments:
, 1675–1700
Watercolor, over pen and brown ink Support: coarse white laid paper
Drawing

Black chalk sketch, bearded man's head
Fragment
, 19th century
linen Technique: bobbin made continuous tape with net added

Scrolling tape forming leaf motifs. Similar to Eastern European work.
View of Hampton Court from the Thames River, from Walter Harrison's History of London
John Cooke, English, acitve 18th c., ca. 1750
Engraving on paper
Print

The view is taken looking down the Thames River, which is spanned in the middle distance by a wooden bridge. In the left distance appear the buildings of Hampton Court Palace. Inscribed below: "View of HAMPTON COURT from the River", and at top: "engraved for Harrison's History of London, etc."
Two Lion's Heads
Felice Giani, Italian, 1758–1823, 1813–18
Pen and brown ink, brush and brown wash, over traces of black chalk on white laid paper
Sketchbook folio

Verso: pen and brown ink, a decorated barrel vault and a knight in medieval costume ???
Textile
Horace Vernet, French, 1789–1863, 1815
cotton Technique: printed by engraved roller and block on plain weave

Copperplate print in two colors, red over yellow ground, of hunting scene, La Chaise au Cerf, designed by Horace Vernet, printed at Jouy. Above, left, hunters on horseback pursue stag which is leaping into stream, where, on the other side stand a man with hounds. | Center, hunters on horseback with hounds. Below, left, buildings, bridge over which passes a rider, and in foreground a carriage drawn by one horse, with driver and man in hunter's caps.
Textile
, late 19th century
hemp or ramie Technique: warp and weft ikat (kasuri) on plain weave

Length of indigo-dyed fabric, with a closely spaced design of swooping phoenixes and bunches of leaves and flowers, interspersed with small symbols in white on a deep blue ground. Selvedge on each side set off by a narrow weft ikat stripe.
Study of an Elk Hound
Henry Bernard Chalon, English, 1770 - 1849, 1800–1825
Graphite on paper
Drawing

Shown in the foreground of a mountainous landscape standing upon a road and turned toward left. In the middle ground at left four galloping horses draw a coach uphill. A footman sits upon a back seat. Two riders gallop behind.
Figure Study for Diana and Her Attendants among the Constellations
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper, laid down on board
Drawing

Nude male figure, shown diagonally across page, with arms raised towards upper left. Right knee is bent.  Additional study of hand, at left.
Mallow
Kate Faulkner, British, 1842–1898, 1879
Block-printed on paper
Sidewall

Vertical repeat of flowers, in serpentine arrangement: b) olive on white; c) blue-green on light green.
LA VOLTIGEUSE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of well-dressed figures in a landscape. At center, a young man pushes a woman on a rope swing suspended between two trees. The scene is set within a rocaille frame of ornamentation, and includes a trellis, scrolls, reeds, and basin of water spilling over the frame at the bottom. The plate is signed.
L'HEUREUX MOMENT
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a couple in a landscape; the woman sits against a rock, while a young man leans against the rock, resting his head on his hand. This scene is set within a frame comprised of flowers, scrolls, and garlands. The plate is signed.
Shawl border
Dmitry Apollonovich Kolokol'tsev, Russian, n.d, early 19th century
wool, silk Technique: plain weave with discontinuous weft (tapestry) Label: wool and silk dovetail tapestry

A shawl border with a horizontal row of large stylized decorated cones with leafy edges; broad guard border on four sides consisting of octagonal medallions, each framing a floral spray, and oak leaves between. Broad border at the top with a row of decorated mounds with flowery sprays growing on and in them. Small cypress shape in center of each and between each. In a great variety of colors on white ground.
Le Toucher
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of a woman and two men playing blind man's buff. They are surrounded by scrolls, floral motifs, and shells. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
L'Automne
François Boucher, French, 1703–1770, ca. 1754–86
Etching and engraving on paper
Print

An allegorical scene representing autumn with three putti (children) playing with a goat and bunches of grapes within a landscape, surrounded by grape vines and trees. A verse is lettered below. The plate is signed and titled.
Pillow sham
, early 19th century
cotton Technique: quilted plain weave

White quilted pillow sham with a central basket of flowers and grapes is flanked by two cornucopias with flowers. Sides and bottom have a deep border of grapevines. There is an empty rectangle below basket for the year. Top edge is slightly gathered.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Two pink flowers, green leaves, on stylized vines, scattered white stylized fern heads on tan ground.
Frieze
W.N. Peak, Brooklyn, New York, 1880 - 1900, 1905–1915
Machine-printed paper

Printed two across, horizontal bands of alternating fan-like and lyre-shaped vegetal designs. The lyre-like arrangement has acanthus leaf borders and contains three daisies. Smaller bands of six-petaled blossoms separate the two wider bands. This design is printed in shades of gray, pale yellow and pink on a beige ground.
Landing of Columbus
American Bank Note Co., ca. 1870
Engraving in black ink on paper, laid down
bank note

A composition with rounded corners. Columbus stands in the foreground, right of center, surrounded by his men. He holds his sword in his right hand, and holds aloft a banner in his left hand. Enclosed in foliated frame.
Border
, ca. 1840
Block-printed, flocked, handmade paper, joined

Basically a rinceau design done in black print on yellow-green flocked ground. Ivy leaves combine with four-part floral spray in design.
Tip Top House
, 1853–62
Glass stereoscopic transparency
Stereoview

[Stereoscopic slide, F. White, Tip Top House, Lancaster, New Hamphire] (see curatorial remarks)
Fragment
, 19th century
cotton, silk, metal Technique: cut supplementary warp loops (velvet) in a plain weave foundation

Red allover cut velvet pattern of small blossoms arranged in offset rows with the slant of the flower alternating from row to row. Background is gold.
Ceiling paper
Hobbs, Benton & Heath, Hoboken, New Jersey, 1905–1915
Machine-printed paper, liquid mica

On lavender ground with lightly printed white treillage and staggered clusters of purple flowers.
Head of an Elderly Bearded Man
, 1800–20
Black chalk on cream paper
Drawing

A head of an elderly, bearded, bald man, half-turned to the right. He has an intent, downward gaze.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

A repeating pattern of alternating stylized onion-top and spearhead motifs, each one enclosing a similar delicate fleur-de-lis design. Upon a gray ground with an overleaf of a complementary fleur-de-lis design. Printed in gray, beige, cream, mica, bronze and gold.
Elephant Hotel, Atlantic City
, 1900–10
Plated metal, printed celluloid
Matchsafe

Rectangular, curved top and bottom, image text reads horizontally, featuring sepia-toned, hand colored photographic image of structure that resembles an elephant with windows, and tower on its back, inscribed "Elephant Hotel, Atlantic City, N.J." Reverse features photographic image of people strolling on paths in garden-like setting, large building with veranda, canopied windows on ground floor, mansard roof and American flags above, sign in front inscribed "Hotel Shelburne, Atlantic City, N.J." Lid hinged on long side. Striker on opposite bottom.
Coat
, mid- 18th century
silk Technique: chain stitch embroidery

Gentleman's coat in dark golden color has horizontal ribbing and embroidery in multicolored silks in a design of floral sprays and vines. Cutaway style with small standing collar. Five embroidered buttons.
Scenic
, 1868–1869
Hand painted paper

Small fragment, featuring one spindly tree, along with one branch of a bush bearing red flowers, scenic landscape in greens, with orange sky.
Ticket for James Figg
A.M. Ireland, 1794
Etching on paper
Print

The ticket is divided into two parts. The upper part shows a man on a fencing stage, surrounded on three sides by onlookers. Below, a plaque with inscription.
Towel
, late 19th century
cotton, silk, metallic thread Technique: embroidered

Towel of white hand-woven cotton with ends embroidered in detached designs, simulating an island with tall trees and other forms. Pattern embroidered in red, rose, green, light blue and gold. Simple border of block design in gold and colors.
Finial
, 18th century
Carved wood, gessoed and gilt

Pair carved wooden mantle vases
Miniature brisé fan
, 19th century
Painted ivory sticks, silk ribbon, gilt rivet

Miniature brisé fan. Painted ivory sticks. Obverse: figures in landscape with musician, flowers and gorge. Reverse: landscape with trees and distant mountain. Guards show trophies and lattice pattern. Gilding at rivet.
Border
, 1905–1915
Machine-printed paper, ungrounded

On tan ground, two registers containing bright blue flowers with green leaves outlined in black scrolls and lavender scrolls throughout.
Border fragment
, 19th century
silk on linen Technique: embroidery

Border fragment showing geometric birds and plants in red and black silk on a linen ground.
A Tower of Cortez, Mexico
Thomas Moran, American, b. Britain, 1837–1926, 1883
Etching in black ink on paper
Print

A tower on a high elevation in the background, with a stream flowing through a chasm at lower right.
Doorway with nude figure and winged creatures
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Doorway with columns and pediment in background. In foreground, nude male figure with hands resting on fantastical winged creatures that face outward.
Fragment
, ca. 1300
wool, cotton Technique: embroidery on plain weave foundation; Weft-faced plain weave: slit tapestry. Warp-faced plain weave embroidered in chain stitch.

Tapestry woven strip patterned by stepped triangles in red and yellow to which three large tabs are attached (there might have been others). Each tab is made up of two sections sewn together: 1) rectangle patterned by three bands, with two bird heads (?) with tassels, bordered by stepped triangles in red and yellow 2) Natural orange plain weave wool embroidered with scroll bird-like motifs
Study for Inspiration Point, Riverside Drive, New York City
Arnold William Brunner, American, 1857–1925, 1872–1903
Graphite, pen and black ink, brush and yellow watercolor, white heightening on gray cardboard
Drawing

Drawing divided into two sections. Upper section depicts the drive along the Hudson River looking north.  At right, stairs lead down to a pavilion. Lower section is a bird's eye view of upper section.
Sidewall
, 1890–1910
Machine-printed

Small-scale arabesque pattern with anthemion. Printed in pink and creamy white on deeper pink ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating art nouveau design of geometric cartouches containing a linear flower abstraction. Connected by elongated frets to a smaller complementary cartouche alternately framed on the bottom and top by vine on a ground that becomes darker towards the base with a linear overall design between horizontal banded borders. Printed in olive green, taupe, beige, bronze, gold and dark brown.
Frieze
, 1905–1915
Machine-printed paper

Printed two borders across the width. Alternating taller and shorter foliate motifs, each containing a floral motif. Petite stylized floral motifs between medallions having effect of trellis work. Faint floral garlands suspend from top. Printed on ground that shades from tan at top to red.
Teapot with Dark Celadon Glaze
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1730–1735
hard paste porcelain, vitreous enamel
teapot

Celadon-glazed teapot molded with broken reeding pattern and with strapwork handle
Textile
, 1750–99
linen warp, cotton weft Technique: block printed (two reds, two purples, blue and yellow) on 1/2 twill

Directional allover pattern of flowers surrounded by small dotted shapes on a deep purple background.
Cap streamer
, late 17th–early 18th century
linen Technique: bobbin lace, Brussels style

Symmetrical arrangement of flowers, one on top of the other.
borders
, 1825–45
Block-printed on paper

In wide central band sprigs of laurel project through wreaths composed of roses and other flowers. The upper edging consists of criss-crossed bindings interspersed with rosettes; this band is repeated below the central band along with a bottom edging of rosettes in palmette frames. 

H# 653
Design for the Corridor to the Chinese Gallery, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–19
Brush and watercolor, graphite on cream wove paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. In the foreground, one of the divisions of the Gallery trelliswork framing, hung with wooden bells, and surmounted by a section containing an ornamental rectangular painted glass panel. Standards with hanging lanterns on either side. In perspective, at left, the west side of the Gallery is visible. With mantelpiece and niches to left and right containing cabinets on which stand plaster Chinese figures in costume. Staircase in background.
Quick Landscape with Trees, Water and Haystacks
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Landscape with grass in foreground, small group of trees in left middleground, wide grouping of trees along horizon at left, and single tree in distance on horizon at right.
Autograph Album with Illustrations
Georg Philip Rugendas, German, 1666–1742, 18th century
Tooled, gilt leather binding; brush and gouache on laid paper
Album

Brown leather binding with gilt decoration in curved floral motifs. 410 leaves with writings and some drawings by the most celebrated Augsburg theologians and artists of the era.
Unfinished piece
, 17th century
linen, paper Technique: needle lace Label: Linen needle lace couched to paper support

Small piece of unfinished work showing the manner in which punto in aria needle laces are made. Standing female court figure outlined and half-filled, on dark green paper.
Embroidered picture
, ca. 1790
silk Technique: embroidery on plain weave

Oval picture showing a female figure seated before a tombstone under a large tree.  Church and stream in background.  Inscription on stone: "In memory of Emma Corbett."
Sidewall
, 1870–1900
Machine-printed

Large stylized floral motif. Printed in brown, deep red and cream color on tan ground.
Border
, 1830–45
Block-printed and flocked on handmade paper

Design consists of an arabesque-like strapwork row of frames connected by pretzel shapes, and containing stylized floral motifs in and around the interlacing. Printed in peach, white, green with an olive flocked background.

H# 311
Fragment
, 16th century
wool Technique: stamped velvet

Stamped velvet with green wool pile.
Textile
, late 16th–early 17th century
silk, wool Technique: satin appliqué, embroidered and couched, on even sided twill

Section of horizontal border filled with arabesque foliage and stems enclosing urn and flowers; guard border with symmetrical stems, foliage, interlacery. Couched red and white satin outlined in heavy gold thread caught down in bunches; this also forms stems. Dark yellow-green wool ground.
Banknote Proof: The Capitol
Bureau of Engraving and Printing, U.S. Department of the Treasury, Washington, D.C., ca. 1900
Engraving in black ink on paper
bank note

Proof of bank-note engraving. Vignette of the U.S. Capitol Building, Washington, D.C.
Dish
, ca. 1790
Glass

Oval dish with wide rim scalloped at the edge, star cut at center, cavetto with facets, rim cut with flat diamond pattern, glass clear and heavy.
Gibson Girl and Flowers
, ca. 1895
Silver
Matchsafe

Oblong, curved sides, rounded corners, featuring raised decoration of Gibson Girl with upswept hair and low cut dress, leaning forward to smell roses in small vase on table top, identical decoration on reverse. Lid hinged on side. Striker on bottom.
Sidewall
, 1905–1915
Machine-printed paper

Narrow mottled brown stripe, alternating with a wide tan stripe. There is a gold lace-like stripe on either side of the dark stripe.
Scarf sample
, mid-19th century
silk Technique: block printed on plain weave

Quarter of a printed scarf in purple, yellow, and black. Border of compartmentalized geometric pattern and field showing diamond grid.
Morning, Hook Pond, East Hampton
Thomas Moran, American, b. Britain, 1837–1926, 1886
Etching, roulette, and sandpaper ground in brown (?) ink on tan paper, mounted on cardboard
Print

Horizontal rectangle showing a rough road leading from center foreground to left and finally to crude bridge crossing over the pond. A wagon loaded with hay is visible on the bridge and the sun is seen rising at the right.
Shawl fragment
, early 19th century
wool Technique: 2/2 twill tapestry weave, embroidered Label: 2/2 wool twill tapestry with wool embroidery

Shawl fragment with a narrow border has a pale green ground covered with paisley motifs, flower clusters and large leaves in shades of red, purple, pink, orange, green, and light blue.
St. Julian of Antinoe from St. Peter's colonnade
Antonio Gabbani, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Antonio Gabbani of St. Julian of Antinoe on the North Colonnade of St. Peter's.  St. Julian wears bishop's vestments, despite not holding that office. He holds up his right hand and holds the palm of martyrdom with his left arm and hand.
Death and the Lansquenet
Albrecht Dürer, German, 1471–1528, 1510
Woodcut on laid paper
Print

Two standing figures at the foreground within a black border; at left, the character of death as a skeleton in robes, presents the Lansquenet, right, with an hourglass. Dated 1510 at upper left, signed "AD" lower right.
Frieze
, 1905–1915
Machine-printed paper

Printed two borders across the width. Very stylized and geometric "plant" motifs, alternating one pointy motif reminiscent of an anthemion surrounded by foliate wreath, and a more pendant motif with three squares across the middle. Motifs are joined by foliate swags. Printed in red, tan, and metallic gold on light yellow ground.
Castles on the Rhine
M.H. Birge & Sons Co., 1834, 1904
Machine-printed paper
Frieze

Landscape, with large pine trees in foreground and large mountains in background. In the middle sits a castle to the right, and waterfall and stream to the left.
Fisherman with His Tackle
, ca. 1750
Graphite, brush and watercolor on vellum with various fabrics
Decoupage

A standing fisherman wearing red hose and blue knickerbockers and hat, holds a net in one hand and a gaff-hook in the other.  A fishing boat, left foreground, and larger sailing craft in the distance.
Choppy Sea with Dramatic Clouds
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of choppy, dark ocean with many breaking waves under a dark sky with dramatic clouds. Miscellaneous pen strokes in margin at right of image.
Valentine Greeting
, ca. 1850
Brush and watercolor on embossed paper
Greeting Card

In the center, an edelweiss. Inscribed in blue ink, above: "Come my Dearest Valentine" and below: "Haste with me to Hymen's Shrine". Embossed paper enframement.
Border
, ca. 1810
Block-printed

Horizontal rectangle. Narrow border with undulating band of pink roses and green intertwining stems. Printed in colors.
Two Designs for Ecclesiastical Ironwork
Jean Lamour, French, 1698–1771, 1760
Etching and engraving on laid paper
Print

Two designs for ecclesiastical ironwork ornamented with rococo motifs, acanthus leaves, flowers, c-scrolls, palmettes, fleurons and winged putti heads. The upper design features the image of a dead Christ with Mary and cupids in a central cartouche, topped with three nails and a crown of thorns, with candelabra along the sides of the arches. The lower design features a central blank cartouche topped with a crown. The lower design is signed and dated.
Design for an Earring
, late 18th century
Pen and ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. In the shape of a pavilion, having inside a blossom with four loops of ribbon. Below the base is a knot supporting three drops.