biglam/cooper-hewitt-alt-text huggingface dataset:
Cloud Sketch, Hudson, New York
Frederic Edwin Church, American, 1826–1900, possibly 1873
Graphite on off-white wove paper; verso: graphite
drawing

Atmosphere sketch showing a view of dark and billowing clouds over a mountain ridge near Hudson, New York. At lower center, large, billowing, white cloud is loosely rendered above a sharply undulating mountain ridge at lower right. In the background at left, several layers of shaded, puffy clouds are visible in an otherwise dark sky.

Verso: Landscape sketch showing a view of Hudson River Valley at twilight, looking south from the artist's property in Hudson, New York, known as Olana. A wide portion of the Hudson River near the village of Catskill is visible in the middle distance at center, flanked by dark and loosely rendered banks. At right, the southern portion of the Catskill Escarpment forms a serrated horizon with Ashokan High Point and Overlook Mountain visible at center right. Dark, puffy clouds just above the horizon while the crescent moon is included at upper left.
Decoration for portrait of Pope Pius VI and royal couple
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Vertical rectangle. In front of a curtain stands a support which has below the shape of a column. Obliquely fastened to it are two ovoidal frames in front of a trophy of colors. A putto is shown kneeling upon either frame raising crowns and mace. Above in the interval between the frames is a bearded head with a helmet. It supports another frame having on top two putti with the keys and the tiara. Colored background.
Design for a Ciborium
Luigi Righetti, Italian, 1780 - 1819, ca. 1812
Graphite, pen and ink, brush and wash on paper
Drawing

Upon the base sits angels with instruments of the Passion.
Sample book
, 19th century
paper, silk Technique: resist printed on plain weave

Textile samples mounted six to a page on fifteen uncut double leaves which are bound with a flyleaf back and front and an embossed cardboard cover, with silk thread. Designs are largely stencil, on subdued grounds and labeled in Japanese.
Ornamental Frame Design
Louis Crépy, French, 1680?–1760, mid- 18th–late 18th century
Etching on laid paper
Print

Design for a frame decorated with ornament motifs including flowers, scrolls, and a cartouche.
Design for the Embroidered Decoration of a Man's Waistcoatr, Design 1876 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Lilac edges. The flap of the pocket shows a chain motif, a garland and plants in the bottom corners. A chain and a grass motif are to alternate along the edges of the waistcoat. Flower boughs surround the outer edge of the pocket. Written top center: "P 1876". A patch of white invalidates some strokes.
Tobacco pouch
, 1865–70
leather Technique: printed by lithography

Within an elaborate border, a romantic scene of a couple on each side. Couples possible represent summer and winter. Drawstring of green woven tape at the top.
Phenakistoscope Disc with Distorted Man
Simon von Stampfer, Austrian, 1792 - 1864, 1833
Hand-colored lithograph on paperboard
Optical toy

Paper disc with a hole in the center, 10 rectangular perforations evenly spaced along perimeter for viewing. Arranged in a ring, several still images show the progressive distortion of a male figure's head and face.
Embroidered picture
, mid-19th century
cotton, wool, silk Technique: counted stitch embroidery on plain weave

Woman holding a small bouquet of flowers stands behind a basket of flowers. To the left is a small dog. The scene is framed by a pillar on the right and a tree on the left. The facade of a house against the sky in the background.
Les Quatre Elements
B. M. Lebert, 1759–1836, ca. 1810
cotton Technique: printed by engraved copper plate on plain weave; short plate.
Textile

Black printed on yellow ground. Four gods arranged in stripes: Vulcan, Juno, Venus, Saturn or Pluto. Central stripe attributed to the four elements, stripe at right the twelve signs of the zodiac.
Textile
, early 19th century
cotton Technique: printed by engraved copper plate on plain weave

Engraved print in purple on ivory cotton ground, of a mother playing with her children on a terrace.
Design for Stained Glass Window, Saint Peter's Episcopal Church, Albany, NY
Sir Edward Burne-Jones, English, 1833–1898, ca. 1870
Pen and black ink, brush and watercolor, over graphite on wove paper
Drawing

Window with three panels showing standing figures of Melchisedech, Abraham. and David. Below them, respectively, the Annunciation, Nativity, and Adoration of the Magi. Above, in a scalloped panel, Adam and Eve with the Tree of Knowledge between them.
La Voltigeuse
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Scene of a man pushing a woman seated on a swing in a landscape, while another couple looks on. The vignette is framed by an arabesuqe border, comprised of scrolls, batwings, plants, vases, and shells. The plate is a reduced reversal of another by Watteau, La Voltigeuse (The Acrobat). This version is not signed.
Heading, Border, and Tailpiece for "Battledore and Shuttlecock"
Franklin Booth, American, 1874–1948, 1916
Pen and black ink, with white gouache corrections, on paper
Drawing

Border: daisy motif on speckled ground. Heading: Country houses, signed upper left: "Franklin Booth." Tailpiece: Shuttlecock lying in a field of grass and daisies.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1775–85
cotton Technique: block printed on plain weave

White fragment with a detached design of multicolored flower clusters, berries and seed pods arranged in staggered rows.
Color Scheme for Temple Israel, Brooklyn, NY
Leon Dabo, American, 1868–1960, ca. 1902
Brush and watercolor, gouache, graphite on paper
Drawing

View of temple interior in a Byzantine style with indication of colored marbles and mosaic decoration of a large, vaulted, domed space.  Menorahs used as sculptural elements adorn the interior.
Design For a Clock, pl. XX from "Recueil d'Ouvrages Curieux de Mathematique et de Mecanique, ou Description du Cabinet"
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1719
Engraving on paper
Print

Design for a clock???
Scribe Set
, 1860–80
wood, lacquer, gold, metal
box

Rectangular box with overlapping cover. bottom of the box has, 6 compartments, one of which holds water vessel in the shape of a tea pot. one of which holds inkstone, inkstone has inscription and seal. Interior of box nnautented*** with birds and landscape in gold. 'takamkie'*** on 'naskiji'*** ground. The cover of the box is painted with a court carriage set among blossoming branches and rock outcroppings -design is executed in manner*** similar to bottom of box. The box cover
Band
, 19th century
cotton Technique: bobbin lace (late Valenciennes ground)

Curving stem with leaves and flowers on diamond mesh.
Design for Necklace with Brazilian Beetles
, ca. 1900
Graphite, brush and watercolor, white heightening on tracing paper
Drawing

Palmettes and beads alternate from the chain.  The palmettes support festoons, from the beads hang nine beetles of three sizes. Drops hang from the festoons.
Trimming
, 17th century
silk, gold and silver metallic thread, metal strips Technique: twill weave

Design in twill weave with gilt stripes toward the center and silver at the outside with flat strips of metal in the center and at borders.
Caissons on Vesey Street
Joseph Pennell, American, active England, 1857–1926, 1924
Etching in black ink on laid paper
Print

Construction work in the foreground, seen in deep shadow. The Woolworth Building, partially hidden in smoke, rises in the background.
Fragment
, 19th century
silk warp, cotton and silk weft Technique: brocaded plain weave

Pale blue ground with powdered design.
Flora Dispensing Her Favours on the Earth
Thomas Woolnooth Sr., British, 1785 - 1871, 1807
Stipple engraving on paper
Print

Stipple engraving, published by Dr. Thornton as frontispiece to Temple of Flora, 1807.
Sample
, late 19th century
silk, steel beads Technique: embroidered on cut supplementary warp pile (velvet)

Green velvet with an incomplete small scale floral embroidery design in cut steel beads.
Sewing sample
, 1873
Linen

Small oblong of white linen, stitched across in various kinds of seems, tucks, hems, etc. At bottom, samples of buttonholes, loops, and two buttons, one pearl, one covered.
Study of Right Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on illustration board
Drawing

Sketch of a right foot and ankle, from slightly above and to the left.
Trophy
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

A Jombert 109,4. B = J. 109, 5; obliquely printed.
Panel
, 19th century
cotton, silk Technique: embroidered

Cotton panel embroidered at one end and up part of the side in pale green silk. Border shows conventionalized geometric designs with stylized trees above.
Textile
, 19th century
ramie Technique: stencil resist using rice paste, indigo-dyed

Long repeat of a bird, curving flower branch, cricket, butterfly and a fruited twig reserved in white on a dark blue ground.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. A vertical line from which project at the left striped scroll-like leaves.
L'Heure du Matin, from a set of the hours of the day
François-Thomas Mondon, French, 1709 – 1755, 1738
Engraving and etching on paper
Print

In a rocaille framing. An unidentified coat of arms bottom center.
Décoration du bal masque donné par le roy dans la grande Galerie du Château de Versailles, à l’occasion du Mariage de Louis Dauphin de France avec Marie Thérèse Infante d’Espagne, la nuit du XXV. au XXVI février. M.D. CCXLV.
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view inside the grand hall of mirrors at the Palace of Versailles, a decorated masked ball celebrating the marriage of Louis Dauphin of France to Marie Thérèse of Spain. Highly decorated interior space with high painted ceilings, from which hang many ornate chandeliers. Figures of dancers occupy the floor, surrounded by crowds of figures on all sides, many of whom are in costume. At left, a group of figures dressed as wizards with very large heads; at right, a group of bishops resembling chess game pieces. Large arched windows or panes of mirror glass line the rear wall. At lower center, coat of arms of France; plate text printed on either side.
Peleo e Talamone argonauti condotti da Tetide, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 8
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Peleus and Talamon, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet).

'S' shaped forms facing in opposite directions in blue on a lighter blue.
Band
, 17th century
silk on linen Technique: double running embroidery stitch

Border design of upright ornaments; band of flower motifs arranged diagonally; worked in blue double running stitches on a white ground.
Ten Lithophanes
, 1825–1900
biscuit
lithophanes

1936-58-1: Vertical rectangle with impressed view of an aisle...
Universal
Landers Frary & Clark, American, 1865 - 1965, ca. 1917
Plated metal, glass, rubber
Flask

Cylindrical, fluted metal body, horizontal ridges at top; tapering, flat-topped, cylindrical metal cup inverted over bottle mouth to serve as cap;  cap unscrews and lifts off to reveal small cylindrical rubber stopper, with circular metal top and hinged togle latch, set snuggly into circular mouth of interior glass vacuum bottle.
No. 168
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1871
Mouth-blown crystal, facet-cut and polished
Rhine wine glass

Mouth-blown crystal wine glass, partly facet-cut and polished in green, with a dainty floral engraved border.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cg: Aesthetic dense all-over pattern of scattered spri...
Fragment
, 1850–1860
cotton Technique: printed by stippled cylinder and surface roller on plain weave

Central medallion of flowers surrounding eagle holding banner within outer frame of floral garlands in black and red on white. Banner reads: "E Pluribus Unum," a likely reference to the desire to keep the United States together in the years leading up to the Civil War.
Borders
, ca. 1780
linen warp, cotton weft Technique: block printed on plain weave

Design of ovals and radiating fan shapes with guard stripes at each side. Two reds, mustard, blue, black and lavender.
Sidewall
Dufour et Leroy, ca. 1860
Block printed on continuous paper

Trompe l'oeil shade. Green louvered or venetian blinds with simulated chain along either edge. Printed in black and greens.
Empress Eugenie
Passerat Fils & Cie, French, mid- 19th century
silk Technique: jacquard woven
Portrait

Woven portrait of Empress Eugenie (1826-1920) of France.
Design for Wallpaper and Textiles: Flowers and Birds
, 19th century
Brush and gouache on cream paper
Drawing

Forked branch at center of page with foliage and various orchids and tropical flowers growing from it. Between the two branches of the fork six birds fly: three brown and green, one yellow, one gray, and one red and yellow.
Side chair
, early 18th century
wood

This side chair is comprised of turned stretchers, a flat seat, and an open back.  The void rectangular area of the chair's back may have been filled with webbing at one point.  The chair rests on elaborately carved legs and feet.
Sidewall and border
, 1805–15
Block-printed and flocked on handmade paper

Wide ocher striping printed on lighter ocher background. Foliate border across top edge. The border design is printed in flock on top of the sidewall paper that has been cut and pasted together.
Border
, 1850–1900
Block-printed

Roses in shades of pink/maroon, to be cut out
Fragment
, 19th century
silk on cotton Technique: embroidered

Fragment showing a diamond lattice containing geometric flowers in multicolored silk on a drawnwork ground.
Design for a Lighting Fixture
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and ink on thin paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. A tall shaft rising from a jardinère on a stand. Large and small branches with clusters of Chinese flowers spring  from the shaft.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Bottle and stopper
, 18th century
Glass

White glass bottle with painted decoration of flowers in baskets.
Cap crown
, 18th century
linen Technique: bobbin lace, Brussels style

Cap crown  with a central design of flowers in a vase, symmetrically framed by floral sprays and cartouches.
studies of two hands holding flutes (?)
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk on blue-gray paper
Drawing

Two hands holding flutes
Plate in Nouveaux livres de peintures de salles et d’escaliers (New Books on Paintings for Rooms and Stairs)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Trompe l'oeil painted ceiling of winged figures flying in the sky, more figures on clouds, one blowing wind; other figures seen in niches between columns around painted sky.
Cupids and Scroll Work
Unger Brothers, Newark, New Jersey, 1872 – 1919, ca. 1896
Silver
Matchsafe

Oblong, rounded sides and corners with irregular curves and counter-curves along four sides, upper portion of box wider than lower, with lid slanted on the diagonal; box features neo-rococo, repoussé decoration with c-scrolls, flowers and two cupids above a cartouche; reverse features no decoration except an irregularly shaped reserve inscribed "Beth to Ceph, Xmas '96"; reverse side also concave in form. Lid hinged on side. Slightly concave striker on bottom.
Sidewall
, 1850–1900
Machine-printed

Appears to be a floral bouquet in a basket. Printed in colors on a light tan ground.
Three of Clubs from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Three of Clubs from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Border
, 1850–75
Block-printed and flocked

Vining foliage and flowers printed in red flock, against background of thin gold stripes on red, with a black band containing red bosses running the length of either selvedge.
Sampler
Catherine Cavanagh, American, ca. 1820
silk embroidery on linen foundation Technique: embroidered in cross, satin and padded satin stitches on plain weave foundation

The center field contains a house, scattered motifs, a verse and inscription, inside a curving strawberry vine border. 
The verse reads: 
Jesus lover of my soul
Let me to thy bosom fly
While the nearer waters roll
While the tempest still is high

Hide me o my saviour hide
Till the storm of life is past
Safe into the haven guide
O receive my soul at last
Sampler
, after 1795
silk and metal threads (flat metal and metal-wrapped silk) on silk foundation Technique: embroidered in satin, French knots, stem and chain stitches on plain weave foundation

Page from book "Zeichen Mahler und Stickerbuch" by Johann Friedrich Netto, Liepzig, 1795.
"Chaises de fantaisie," no. 8, in Le Garde-Meuble (The Storehouse)
Désiré Guilmard, French, 1810–1885, 1839–85
Hand-colored lithograph on cream laid paper
Album page

Design for two chairs. Left, red upholstery and rounded wooden frame; right, yellow upholstery and curved and curled wooden frame.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Wreaths of interweaving floral motifs.  Similar background wreath motif.  Pink, green, brown and light brown on a tan background.  Pattern number 1111.
Fragment
, possibly 13th century
silk on linen Technique: embroidered

Fragment of a multicolored band in a zigzag pattern with small diamond shapes.
Pleated fan
, mid- 18th century
Parchment leaf painted with watercolor; carved and pierced mother-of-pearl sticks, pin set with a brilliant

Pleated fan. Parchment leaf painted with watercolor. Obverse: pastoral landscape with figures. Reverse: floral border and centre sketch of a woman and Cupid. Carved and pierced showing figures and scrolls. Pin is set with a brilliant.
Border
, 1700–1750
linen Technique: bobbin lace (Valenciennes ground)

Small-scale floral allover pattern forming cartouches.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Floral bouquets in the anthemion design shape, alternating between large and small bouquets.  All bouquets are connected by continuing bands. Whole design on a screened field the colors of which progressively change to their negative colors. Printed in various shades of brown from mud brown to chocolate brown to a light, almost peachy-tan brown.
Sample
, late 19th century
Technique: appliqué and embroidery on net

Sample, applique and embroidery on net, branched leaf motif; late 19th century Carrickmacross.
Waistcoat
, 1775–90
silk, linen Technique: Front: embroidery in satin, stem and knot stitches using 33 different silk yarns on silk 7&1 satin; appliqué of silk woven fabric. Back: linen plain weave.

Gentleman's waistcoat with embroidered design of leaves and urns pouring water.
Reed Brushes and Bamboo Leaves
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Bound reed brushes are decorated with scattered bamboo leaves.
Bark cloth
, 19th or early 20th century
mulberry tree bark (Broussonetia papyrifera); tapa Technique: beaten bark fiber, rubbed and hand painted Label: beaten and rubbed Broussonetia bark, hand-painted

Large panel of tapa cloth. Thick white fabric made from beaten bark, painted in rust and brown in design of three rows of rectangles enclosing striated angular forms. Rows are divided by stripes of diamond pattern.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

Repeating design of floral medallions, each connected to another by a floral swag. Printed in deep red and white on a tan ground.
Textile
, late 19th century
cotton Technique: cut loops of a supplementary weft in a 2/1 twill foundation (velvet)

Length of painted cotton velvet upholstery fabric with offset rows of naturalistic flowers including jonquil, tulip, rose, lilac, daisy and morning glory and others which do not systematically repeat.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Stylized floral bouquet, alternating between tall motif with three flowers and short motif with five flowers. Vines hang from each bouquet. Very stylized floral motif in background, printed in diagonal rows. Green band along bottom edge.
borders
, 1870
Machine-printed paper

Continuous leaf molding surmounted by dentils in grays, blacks, browns and yellow.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a twill weave foundation

Fragment of magenta-colored velvet, cut and uncut, against a gold-colored ground in a small serpentine leaf pattern.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Trellis or grid pattern composed of foliate scrolls and floral sprigs. A floral bouquet, a sprig, or petite quatrefoil is cented in each grid. Printed in metallic gold, tan and yellow on tan ground.
Portrait of Louis Hesselin
Robert Nanteuil, French, 1623 – 1678, 1660
Etching on paper with black ink
Print

A bust length portrait of an elderly man in three-quarter view to right.
Portrait of Jean-Balthasar Keller
Pierre Drevet, 1663 - 1738, 1699
Etching on paper in black ink
Print

Keller stands in front of the foundry. His right hand rests on a gun; with his left he points to the equestrian statue of Louis XIV, another work by him, which is just in finishing process in the courtyard.
Bedcover
, early 19th century
cotton Technique: resist printed and painted

Bedcover made from five breadths of narrow fabric. Dark blue with soft shades of rose, yellow-orange, pale green and gray-violet. Design shows a large bird with widely-spread wings, long tail feathers and foliage. It is known as the Hou-ou Bird and the Paulownia Tree. The colors, now faded, were put in by hand after the ground was printed. The outlines of the bird's wings and lines in the feathers are reserved in white.
Border
, 1810–30
Block-printed on handmade paper

Three different bands of varying widths. Primary band alternates leafy sprigs of hydrangeas with vierticam, reverse-"S" curved bands that frame daisy-like flowers in diamond centers. Below this runs a continuous band in a stylized floral and dot motif, above a denticulated band. Printed in yellow, white, green and gray on black ground.

H# 357A
Border fringe
, early 17th century
linen Technique: knotting (macramé)

Border with highly stylized male and female figures, with pendant triangles below, finished with a long fringe.
Vase
University City Pottery, 1913
Glazed porcelain

Thrown, porcelain spherical body with crystalline glaze shading from ivory to light green, on background shading from a light to dark beige color.  Semi-glossy finish.
Sidewall
, 1800–1830
Block-printed on handmade paper

a,b) On brown ground, alternating small brown stylized flowers and leaves overlaid with blue gathered fabric with white lace edging imitating drapery twists into a diaper pattern; strung pearl tassels loop around fabric; on left, a small vertical foliated border in shades of blue-black, blue, and tan; on bottom, a larger anthemion-style border in shades of blue-black, blue, and yellow; c) border - on dark brown ground between color bands of tan, yellow, and orange, a foliated vine in shades of orange, blue, light blue, and yellow.

H#595