biglam/cooper-hewitt-alt-text huggingface dataset:
Ceiling Design, Alexander and the Family of Darius, the Clemency of Alexander, Sala di Alessandro, Palazzo Naldi, Faenza
Felice Giani, Italian, 1758–1823, 1803
Pen and brown ink, brush and brown wash over black chalk with unruled border in pen and brown on white laid paper
Drawing

Alexander, accompanied by officer, enters tent of great king filled with women (and possibly children) imploring his mercy.
Pleated fan
, 1869–80
Silk bobbin lace leaf; carved and gilded mother-of-pearl sticks

Pleated fan with a black bobbin-made Chantilly lace leaf decorated with a line of dancing putti carrying a floral garland. The sticks are carved and gilded mother-of-pearl, decorated with oval medallions of putti. On each guard stick is a medallion with the initials FB.
Figures in a Landscape
François Boucher, French, 1703–1770, 1751
Etching on laid paper
Print

A pastoral scene with figures in a landscape. A woman wearing a straw hat with feathers and Chinese style dress rides a cow with a man wearing a textile wrapped around his head walks next to her. He balances an agricultural tool across his shoulders. To the left, a group of men and women stand with trees and a palm tree behind them. In the far background to the right, a small house, and trees. The plate is numbered and signed.
Candlesticks, Probably for the Palazzo Altieri, Rome
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Left row: above a monumental column, with a bracket on top with three branches with candles. Below: a socket, a plan. Right  row: above, upon a console stand two branches like cornucopias fastened by a wreath. In the center rises another one carrying a candle. Below: a similar bracket with two candles stands upon a column which is supported by winged half-figures.
A Country House
Charles Nicolas Ransonnette, French, 1793 - 1877, 1825–1840
Pen and ink, brush and gray and brown wash on tissue paper
Drawing

Situated near a road, consisting of two parts in the scheme of a right angle. A ramp leads to the door at the front; objects are stored on its porch. Trees are in the background.
Sidewall
, 1855–1865
Block-printed paper, stamped foil

Full width with centered medallion of roses and bird enclosed in elaborate gilt framework set at base with pastoral trophies; printed in colors on white ground with gauffered gilt enrichment.
Clouds over the Hudson Valley, from the Catskill Mountains
Frederic Edwin Church, American, 1826–1900, 1844–1850
Oil and graphite on canvas
Drawing

Landscape sketch overlooking a cloud-filled Hudson River Valley, likely viewed from the Catskill Mountain House or another vista point along the Catskill Escarpment. One tall tree is visible in the foreground at lower center, situated among numerous other trees that blanket the mountainside. In the middle distance at center, two banks of low-lying clouds stretch horizontally across the composition, framing a narrow window revealing the valley's lush landscape below. At far left, an close, dark cloud begins to encroach on the scene. In the background, the landscape becomes hazier and indistinct due to atmospheric perspective, while above it, a band of dark clouds fills the sky.
Four Ornament Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Four small ornament designs featuring a winged putti on a dolphin, foliate branches, arrows, lyre, vases of flowers, bird heads, and scrolling leaves (rinceaux). The plate is numbered.
Design for the letters V and X of a Pictoral Alphabet: Victoire/Xystus (Victory in the Xystus)
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letters above, flanked by intertwining rinceaux. Victory crowning a victorious athlete within a space called the Xystus in Greek--the covered portico of a gymnasium.
Interior of Church Near Faenza
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. View of inside of church entrance "al Ermitaggio" near Faenza, Italy.  Figure at left stands with raised arm on elevated platform. View on trees and hilly landscape in background through trefoil archway.
Design for an Inkstand
, ca. 1815
Pen and sepia ink on light gray-blue paper
Drawing

Horizontal rectangle. Design for an inkstand, an ovoid base supported by the lion feet of hermae, of which five are visible. It has the shape of an entablature with festoons supported by the hermae, in the frieze. The handle is a hermae with the head of a bearded man with a pointed cap, and a festoon. Beside are two molded covers below crossed branches, in circle. At the upper edge are scrolls of a monogram.
Study of a Cow
, ca. 1815
Charcoal, brush and sepia on paper
Drawing

A cow viewed from the front and the side.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design featuring a fluted pillar with three antique busts supporting a plaque with faux script on which sit two anguipeds on either side of a billowing censer.
Figure
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a figure wearing a hood.
Sampler
, 18th century
silk embroidery on linen foundation Technique: long-armed cross, aztec, satin, double running, and back stitches on plain weave

Four panels of pattern with inscription in Spanish.
Sampler
Mary Richards, American, 1808
silk embroidery on linen foundation Technique: embroidered in cross, rococo, and eyelet stitches on plain weave foundation

Four sets of alphabets and one set of numerals in the upper third; a verse and inscription in the middle third; and a landscape with large brick houses, trees, and sheep in the lower third. With a deep floral vine border. Embroidered in colored silks on a natural linen ground.
The verse reads:

Thy mercies fill the earth, O Lord,
How good thy works appear!
Open mine eyes to read thy word.
And see thy wonders there.

My heart was fashioned by thine hand.
My service is thy due:
O grant that I may understand
The duties I must do.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Dark red reproduction textile inspired by a sixteenth century example in the Cooper Union Museum collection. Design has straight rows of circles connected by notched bars. Each circle has two concentric rings of small checkerboard patterning and is filled with scrolling lines. Between circles are diamond shapes with palmettes and vine patterning.
Textile
, 17th century
silk Technique: two interconnected plain weave structures

Vertically symmetrical formal floral pattern of broad curling leaves and flowers in light green on a light yellow ground.
Study of a Woman
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a woman's head. The woman looks to the left, with her head turned to the left. Her curly hair is up and tied back, and she wears a pearl or bead necklace. The plate is numbered and signed.
Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Design for the crowned letters L and possibly J, interlaced and comprised of stars, water, flowers, and leaves. The plate is signed and numbered.
Bobbin Lace 3
Cooper Union Museum, 17th century
linen Technique: bobbin lace
Fragment

Cut fragment with scrolling vine motif. Previously mounted on a fabric-covered board for study.
Chased Silver Medallion
Hans Holbein the Younger, 1497/98 – 1543, 1532–43
Pen and brown ink, brown, blue wash Support: white laid paper
Drawing

Square. Within a rondel a lion's head seen frontally, framed by spread-eagles at the compass-points, from the base of whose wings are suspended heavy garlands tied by ribbons.
Sketch of a Woman's Face
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Sketch of a woman's face, looking downward and slightly to the right.
Man
, late 19th century
Painted wood, cotton, other materials
Puppet

Brightly painted head with moustache in grey derby hat. White collar, black tie and flowered vest with red buttons. Deep red trousers. Black hose and shoes. Lace at wrists and knees.
Textile
, 18th century
silk, metallic Technique: plain weave with discontinuous supplementary wefts (brocaded)

Curving festoons and flowers in pink and silver.
Fragment
, late 19th century
silk, paper with applied gold foil Technique: plain compound twill

Tan silk ground with design of flowering oxalis plants and bamboo foliage in green and white silks and gold paper.
Design for brooch with hanging drop and sun face
, 16th century
Pen, sepia, brush, grey water color. Paper
Drawing

Vertical rectangle. A round diamond is framed by a circular shell. In the upper half surrounded by a pediment, with a garland above it, and the sun face on top. The lower half is surrounded by a calix supporting two festoons. A drop, hanging.
Portrait of Joannes a Wachtendonck, Archbishop of Mechlin
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and cape with embroidered button holes, also a short van dyck beard. Below, his escutcheon and motto, and inscription.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 18th century
linen Technique: bobbin lace
Fragment

Lace fragment in a Louis XV pattern.
Design for a Display Stand
Karl Friedrich Schinkel, German, 1781–1841, 1812
Pen and black ink, brush and watercolor on paper
Drawing

A stand with four circular tiers to display crystal objects.  On margin, explanations of the drawing.  It is a folded sheet of paper.  On the second page explanatory letter by Schinkel dated Febr. 16, 1812.  Explanation of drawing (in transl.): From the gilt rim of each disc a, b, c, d hangs a fringe of glass prisms which diminish in their size in the upper tiers.  A, b, c, d: circular discs, mirror-glass covered, and with a fine and narrow gold edging.  On these stand the various glass objects which--through the reflection of the mirrors--appear double and so to speak will seem to be swinging between the outer borders.  If the reverse of each of the discs would also be covered with mirror-glass, the effect of the mirror, placed back to back, would still be more striking.  The octagonal center column consists also of mirror-glass panels joined at the corners by very narrow gold bands.  Thus, the whole will have an appearance of extreme lightness and transparency which will be in complete harmony with the crystal object standing on it.  The whole composition will rest upon a golden foot (gilt) composed of leaves and lion's claws.  On the top disc stands a bronze candelabra, such as can be found already at Werner and Muth.  The gold ornaments are of gilded wood, and also the foot is made of wood, carved and gilded.
Portrait of Jean Louis Ernest Meissonier
Charles Courtry, French, 1846 - 1897, 1884
Etching on paper
Print

Bust length portrait of the French painter, Jean Louis Ernest Meissonier (1815-1891), wearing a beard which flows in two long streamers, his gaze directed to the left. He is shown facing frontally. Sitter's name below, and at top, publisher's name.
Band
, 17th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Narrow band of reticella-style lace.
Saint Christopher
Albrecht Dürer, German, 1471–1528, 1503–1504
Woodcut on laid paper
print

Vertical rectangle. S. Christopher is represented crossing the stream, at left. The Christ child is seated on his shoulders. A hermit stands on shore, at lower right. A tablet with the monogram of Durer is at lower center. Above, at left, a flock of birds in flight.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 18th century
linen Technique: bobbin lace
Fragment

Lace fragment with a five-hole ground referred to as "fond à cinq trous." Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1874–76
cardboard, paper, printed samples

Notebook with handwritten formulas for dyestuffs to be used for printing textiles. Contains 160 samples in various designs.
Textile
, late 1820s
cotton Technique: printed by engraved roller on plain weave

Another adaption of the chasselat 'Joan of Arc' design. The same scenes are assembled in a different order. The background differes from other versions of this design in that it is made up of inter-laced links. The colour, somewhat faded, is a reddish or brownish purple. Inspired by the design by Chasselet. (See: Department of Drawings and Prints)
Studies of Feet, and a Fluted Shell
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Left, the shell. Right, above, left foot; below, lower part of right foot.
Shawl fragments
, 19th century
wool, silk Technique: twill weave

Very fine chevron twill in deep red. Narrow twill selvage with white silk warps.
Fringe
, 17th century
silk Technique: plain weave

Green, pink and white fringe with a plain weave heading, trellis band and skirt threads arranged in stripes.
Fragment
, 15th century
silk, metallic Technique: slit tapestry weave

Large scale floral and leaf design.
St. Martin's Bridge, Toledo
Joseph Pennell, American, active England, 1857–1926, 1904
Etching on paper
Print

Horizontal rectangle. View looking down at the bridge, middle distance. The city of Toledo at left.
Fragment
, 19th century
silk, cotton, mirrored glass Technique: embroidered on twill weave

Yellow ground embroidered with a highly formalized floral pattern in magenta, white, blue, black, and beige silks and round pieces of mirrored glass. Fragment is rectangular with a pointed top.
The Father Eternal
Pietro Bettelini, Italian, 1763–1829, ca. 1800-1820
Steel engraving on paper
Print

Within a lunette, God the Father is seen supported by two angels, and accompanied by a third. Cherubs in the background.
Drawing
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, Before 1774
Pen and ink, with water color on white paper.

Horizontal rectangle. In an enframement of rinceaux separated by bisecting arcs is a central medallion showing Diana walking in a landscape with a hunting dog.
Sleeve band
, late 19th century
wool on cotton Technique: embroidered

Sleeve band of grey cotton, embroidered in wool at one side in small-scaled geometric pattern, outlined by a running and repeated "T" pattern.
Valance
, 19th century
silk, metallic thread Technique: compound weave with supplementary weft

Scalloped valance made from several pieces of a thin beige silk cloth, horizontally ribbed and with finely drawn naturalistic bunches of garden flowers with widely scattered detached sprigs, in deeper beige silk floss; groups of flower heads in two kinds of gold metal thread. Plain selvage and lined with glazed cotton cloth.
Salesman's sample
, early 19th century
silk Technique: embroidery

Sample of dress trimming of pink and green satin embossed and cut in leaf shapes. Arranged in series of interlocking circles, with red berry-like forms on green leaves and open flowers with green petals and black centers in circles. Mounted on paper with flap to cover sample.
Collar
, late 19th century
silk Technique: woven

Collar made by pleating an ivory-colored ribbon with a small woven ornament.
Vase
, 19th century
glass

hyacinth Green glass
Armchair
Unknown, 18th century
wood, cane, leather

Louis XV style armchair, caned, with leather seat
Design for a Dining Table on a Scrolled Base
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded top with a dividing stretcher at center; raised on reeded column-like support sitting atop a molded base terminating in inwardly scrolling feetwith carved floral motifs.
Button
, 19th century
Ivory

1931-59-120-b: Circurlar button of ivory carved in relief in desi...
Design for Adjustable Side Serving Table
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Two models of same design: at right, basic model with molded rectangular top, raised on 2 straight tapering supports on splayed bracket feet joined by single horizontal stretcher, scroll-like elements on tops of supports and above feet; at left, same model with 2 additional shelves, straight supports, and no scroll-like decoration
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Chartreuse trellis with burgundy flowers.
Rendering of the Grand Gallery of Honor, Palazzo Paz, Buenos Aires, Argentina
Unknown, ca. 1890
Pen and black ink, brush and watercolor, gouache, graphite, charcoal on cream wove paper
Drawing

An elegantly furnished circular salon interior with a baroque-style domed ceiling topped by a shallow cupula.  The dome drumb is decorated with illustionistic ceiling paintings after Tiepolo (based on the Tiepolo paintings in the Casa del Sole Gallery, Clerici Palace, Milan). The salon walls are decorated with large neoclassical tapestries flanked by Corinthian pilasters between which are niches containing tall candelabras terminating in glass globes painted with fleur-de-lis.  An elaborate marble flooring is covered on the right and left by Persian carpets upon which assorted furniture is placed. In the center background a stairway landing displays a large potted palm.
     The salon is filled with comfortable furnishings in the Louis XV and Louis XVI styles grouped around a central circular white marble fountain with a female figure riding in a shell-like chariot pulled by a dolphin (?).  In the right foreground, a suite of Louis XV-style furniture consisting of a canapé (setee) and two fauteuils (armchairs) upholstered in tapestry.  A fauteuil à oreille (wing chair) seen from the back is upholstered in damask.  Between the furniture, a Louis XVI neoclassical style table displays a Japanese vase holding flowers. A lacquered Chinoiserie-style folding screen is in the right corner.  Along the wall, to the left of the screen, an eighteenth-century commode with gilt-bronze mounts displays a marble bust and a bronze-mounted Sèvres object.  To the left of the fountain,  a suite of furniture is gathered in front of a Boulle-style  commode displaying a bronze-mounted Sevres vase, a gilt-bronze surtout-de-table, and a fan-shaped vase.  In the drawing's upper right corner an as yet unidentified coat of arms with two joined "L"s enclosed by a wreath beneath which is an insignia of two clasped hands around a vertical shaft holding a red Phyrgian cap.  This coat of arms has been identified as belonging to Argintina (see en.wikipedia.org/wiki/Coat_of_arms_ of_ Argentina).
Album of Ornament Designs
Pierre Gandin, French, active 15??-16??, early 17th century
Album

Album of ornament designs or jewelry patterns in silhouette featuring c-scrolls, dots, scrolling leaves, and fleurons. The plates are numbered and signed. Bound in a green glazed cloth three quarter binding with marbled papers, signed ‘VAUTHRIN RELIEUR' on upper cover fly-leaf.
Dado
, ca. 1810
Block printed and flocked paper

Bottom border of drapery paper. Printed in gray, green, pink, brown with black flock.
Dish
, 1760s
Tin-glazed earthenware

Circular form with shaped rim; white ground with blue-green-blue bands on rim with sunflower lambrequins. Centered by rampant lion supporter of crown and rococo cartouche with monogram "LB" or "BL".
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, foliate branches, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Six Shell-Shaped Dishes
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1770
hard paste porcelain, vitreous enamel, gold
dishes

1938-57-657-a/f: Six shell-shaped dishes decorated with carnations ...;     1938-57-657-a: Shell form, decorated in Chinese style with carnat...
Mug
, 18th–mid-19th century

House (pink lustre)
The Music Party
L. Rossi, active in Germany and France, ca. 1850, ca. 1850
Brush and watercolor, white gouache, graphite on white wove paper
Drawing

In this typical music group, a woman dressed in an elegant white silk gown is seated at the harp; a second woman is seated at the piano; a man, standing, plays the violin; and another man, seated, plays the cello. The family spaniel looks on. The walls appear to be of gray stucco (?) with a classical frieze at the top. The floor is stenciled in a colorful circular pattern.
Border
, early 18th century
Technique: needle lace

Needle lace, floral pattern; early 18th century Alencon edge sample
Sampler
Lovey Bickford, American, b. 1800, 1805–15
silk embroidery on linen foundation Technique: embroidered in satin, cross, stem, eyelet and herringbone stitches on plain weave foundation

Several bands of alphabets and numerals separated by narrow geometric borders, embroidered in black and light blue, with an inscription.
Etui and cover
, 1780
gold

Oval tubular etui. Sheath closure. Case (a) with retangular form, plain panels with bright-cut borders. At upper end a band of chased "s" scrolls and green gold leaves at top of each panel. Shallow flute in each panel. Bottom with engraved seal with coat of arms, unidentified. Cover (b) with similar decoration. Domed top with swirled rosette of green gold leaves.
Frieze
Wallace Wall-Paper Co., Cortland, New York, 1905–1915
Machine-printed paper

Stylized distant landscape in background, silhouette-like, with band of bright red poppies in middle ground, grass and beaded molding in foreground. Printed in greens, yellows, and pinks.
Sidewall - sample
Becker, Smith & Page, Inc., founded 1899, 1906–08
Machine-printed

Stylized floral stripe; red flowers on off-white stripe, printed on mottled tan ground.
Band
, 16th–17th century
natural linen Technique: bobbin lace, continuous braid-like

Fragment of a coarse-worked band in a geometric pattern.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Vertical striations in shades of yellow and beige, central stripe in green, gold, and red. Coat of arms made up of red and gold shield surrounded by scroll and foliate gold frame.
Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and gouache, pen and black ink, graphite on white wove paper
Drawing

Central geometric motif with round floral ornament.
Jack of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Jack of Spades court playing card from a pack of transformation playing cards. A male figure in court dress holding staffs and weapons. A black spade at upper left corner.
Seesaw - Gloucester, Massachusetts, from Harper's Weekly, September 12, 1874, p. 757.
Winslow Homer, American, 1836–1910, September 12, 1874
Wood engraving in black ink on newsprint paper
Print

Horizontal group of children at the shore's edge:  three girls are seated in the foreground; beyond them is a seesaw with six boys; and sailboats are in background at right.
Textile
, ca. 1300
wool, cotton Technique: Somewhat warp-faced plain weave with grouping of warps for weft-faced plain weave: slit tapestry; predominantly warp-faced plain weave; ONE CORNER: slit tapestry on group parps, nonhorizontal wefts for outline, wrapping; SIDES: one is intact; ENDS: one has warp loop, tapestry section in tubular warp ends

end of a loin cloth with triangular-shaped woven area at one corner: interlocked birds in two shades of light brown outlined with red forming a triangular-shaped all-over patterned area which is framed in red. the wide stepped edge on the inside contains birds, each with head ornaments, in shades of brown and yellow with black outlines.
Sampler
, 1850–1870
wool and silk embroidery on cotton foundation Technique: embroidered in cross, back, and satin (upright Gobelin) stitches on plain weave foundation

Isolated motifs including dog and a lamb and lace-like border.