biglam/cooper-hewitt-alt-text huggingface dataset:
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Horatius fights with an Etruscan, at right. Other Romans and Etruscans fight in the rear. The broken bridge, the Tiber god, the Roman army and Rome are shown at left.
Mrs. Peter Cooper Hewitt in Masqurade Costume
Jose Maria Mora, Cuban-American, 1850 - 1926, ca. 1885
Photograph on sensitized paper
Photograph

Full-length standing figure turned slightly to the right, wearing armor, and holding a banner in her left hand, and drawn sword in her right, against a backdrop of a battlefield.
Edge
, 17th century
linen Technique: bobbin lace (Valenciennes ground)

Conventionalized flower motif in a square field.
Peep-show, Vue Perspective de l'Embouchure de l'Escaut et de la Possonnerie d'Anvers
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Madonna enthroned with saints
Denys Calvaert, Flemish, 1540 - 1619, 1580
Black chalk, pen, ink; red water color wash; white heightening. Slightly brown colored paper
Drawing

Vertical rectangle. With a segment on top. The Virgin, seated upon a bench in front of a niche, is crowned with a wreath by an angel. The child stands beside Mary. In the foreground, but on different levels, stand two saints, at right what possibly is St. Joseph, at left a pope, whose tiara is held by a boy. Framing line.
Color Book 20. 1883
Old Pacific Print Works, Lawrence, MA, USA, 1883
paper and printed cotton textile samples
Printer's sample book

Small notebook with tabbed colors: Blue, Green, Olive, Red, Brown, Orange, Stone, Drabs. Very few textile samples, mostly recipes for dyestuffs.
Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

A solitary philosopher. First state, before the number, with the two heads which were later erased
Fashion Plate
Anais Toudouze, ca. 1855
Pencil and graphite, watercolor, white gouache on Bristol board
Drawing

Vertical rectangle. Interior with three figures. A woman is seated left, facing right, in profile. Beside her, right, stand a boy and a girl, the girl in her confirmation dress and veil.
Man Resting on a Grassy Bank Under a Large Tree
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper, verso: graphite on paper
Print

A man rests against a high grassy bank by a large tree. A village with a church spire is seen through trees in the center distance. Plate reworded. Verso: Sketches of leaves (in pencil).
Dress for an ecclesiastical figurine
, 17th century
silk, metallic yarns Technique: plain weave with discontinuous supplementary weft patterning (brocaded); plain woven lining

Garment has a full skirt and sleeveless bodice with eyelets for lacing down the back. Blue fabric is a ribbed silk heavily brocaded with silver, gold and multicolored threads in a floral design. Bodice is lined with rose-colored taffeta.
Trimming
, 17th century
silk Technique: woven

Design of a pink ground with small white ornaments or flowers with a blue selvage.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 18th century
linen Technique: bobbin lace
Fragment

Lace fragment with a ground called "armure," which is a chain-like pattern. Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Silver salts, mustard pots
Unknown, ca. 1800
engraving
Print

Eight designs for silver salts and mustard pots. Numbered 333, 334, and 336. Prices for each pieces (in ink).
Fragment
, late 19th century
silk and metallic thread Technique: woven

Galloon fragment with design of flowers and leaves in vine arrangement in tinted metal threads on gilt ground; furnishing trim
Fragment
, 17th century
silk, metallic threads Technique: plain compound twill with brocade (?)

Striped textile with details in silver. Four repeated motifs within the stripes include Indian palm motif flowers and arabesques. Dark blue, green, pink and tan.
Sleeve flounce
, 1850–1900
silk Technique: bobbin lace, blonde style

Blonde sleeve flounce in a design of deep scallops along the bottom edge. Above scallops is a horizontal vine with foliage and blossoms.
Study of Angel with a Book
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Angel in flight toward the left, holding an open book. The right hand points to text on the lefthand page, reading: "IN THE BEGIN"
Woods With Fenced in Areas
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A road runs through a woods. A small fenced in area at the right and a larger one at the left.
Coverlet fragment
, 19th century
wool, cotton Technique: double cloth

Border fragment showing traditional linear geometric border. In very dark blue indigo-dyed wool with unbleached, undyed cotton.
Handscreen
, 19th century
Leaf embroidered in silk, turned and carved wood handle

Handscreen in the form of a mask, with a cluster of pastel-colored leaves gathered by a bowknot. The loops of the bow form the eye holes.Turned and carved wood handle.
Fragment
, 14th–late 15th century
cotton Technique: resist-printed on plain weave

Small-scale all-over repeat of irregular stars with dots in the center, dots, and white rings in ground color against brown background.
Livery band
, late 18th century
wool, linen Technique: supplementary raised wool warp in linen plain weave foundation (velvet)

Livery band of the Teding van Berkhout family of the Netherlands. Blue and white diamonds on red and yellow chevron stripes.
Textile
, early 19th century
cotton warp, horsehair weft Technique: 4&1 satin damask (pattern created by the weft float face of the satin; background of the cartouche created by the warp float face of the satin)

Vertically symmetrical cartouche with bold flowers on a vine. Pattern direction parallel with weft.
Fragment
, late 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Fragment of needle lace (Point d'Alençon) with a floral spray and ribbon. Slightly scalloped edge with flower heads.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming raised pile (velvet)

Sprigs with acorns and curved branches in green on gold.
Sampler
Geniese Froh, ca. 1820
wool?, silk Technique: cross stitch

Cross stitch sampler worked in colored silks on bolting cloth ground with alphabet and various borders, an urn and weeping willow.
Cup and Saucer, from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
cup and saucer

Short cylindrical cup (a) with loop handle; gray-white ground decorated with underglaze-painted oval medallion showing  view of walled city along riverbank; rim with underglaze blue band between two thin gilt lines; three incised concentric lines around base; handle with gold "U" and dots. Circular saucer (b) with gray-white ground decorated circular central medalion showing view of walled cities on water; rim with underglaze blue band between two thin gilt bands.
Plate with Floral Pattern
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th–early 19th century
hard paste porcelain, vitreous enamel, gold
plate

Molded plate with gilt rim. Scattered flower decoration.
Border
, ca. 1810
Block-printed on joined sheets

Green drapery swag, with yellow patterning. Band of floral sprigs at bottom, followed by fringe. Architectural molding with beading at top edge.
Sampler
, 1817
silk embroidery on linen foundation Technique: buttonhole and running stitches on plain weave

Small sampler with four columns of decorative buttonholes worked in white on a white ground; red coat of arms at center top and red date at center bottom.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-b: Circular form with scalloped edge and shallow well...
Sidewall
, ca. 1880
Machine-printed on paper

1970-26-4-ab: Two ornamental motifs, one large and one small, re...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Album of Designs for Watchcase Lids or Medallions, Flowers, and Friezes
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Album

An album of ornament prints with designs for watchcase lids or medallions with biblical subjects, alongside designs for flowers, and friezes. The plates are numbered and signed with an initial. The album also contains pasted-in designs for watchase lids or medallions with ornament and profile portraits from a different series of prints.
Savoyards
, ca. 1840
Block-printed paper
Sidewall

Three pieces, with scenes, inscribed "Savoyards." a: Recto, small central cartouche, containing two figures in a street scene.  Printed in grisaille and dark blue, on a gray, patterned ground.  Mounted on burlap.  Verso, figural landscape with fox and duck hunting scenes, printed in monochrome brown with attached border; b: Recto, large central cartouche, containing musical scene with two women and two children.  "Savoyards" inscribed below scene.  Printed in grisaille and dark blue, on a gray, patterned ground.  Mounted on burlap.  Verso, figural landscape with fox and duck hunting scenes, printed in monochrome brown with attached border; c: Recto, large central cartouche, containing peasants toasting with dog.  "Plus heureux qu'un roi (More happy than a king)" inscribed below scene.  Printed in gresaille and dark blue, on a gray, patterned ground.  Mounted on burlap.  Verso, figural landscape with fox and duck hunting scenes, printed in monochrome brown with attached border.
Button
, late 18th century
Stoneware

1925-2-21-b: Three circular medallions in the style of Wedgewoo...
A Room in Schloss Buchwald
Friedrich Wilhelm Klose, German, 1804 – after 1863, 1840–45
Brush and watercolor, gouache on white wove paper
Watercolor

Although not signed, this view is characteristic of the work of F. W. Klose and, accordingly, may be attributed to him. The exaggerated receding perspective, views of the countryside and a look into an adjacent room recall the artist's Rose Room and Blue Room at nearby Schloss Fischbach. The bare wood floors, and windows, unadorned except for a green valance, signal that the season is summer, while several arrangements of peonies suggest the months of May and June. Green walls trimmed with a gold fillet create a background for Jacobean upholstered furniture and chairs, tables and bookcase in the Sheraton style. Italian landscapes are interspersed with sculptures, vases and a large Venetian goblet, all displayed on brackets. Portraits are seen in the adjacent room.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller and possibly block printed on plain weave; highly glazed

Group having same ground, roller-printed, of a broad grey stripe formed of minute white dots alternating with white stripe edged with fancy foliage pattern. Different floral patterns printed over this ground, probably by block. A) Large Iris pattern, purple and green.B) Garden flowers. C) Sprays of blue flowers with grey-green foliage D) Small flower sprays, brown and green. E) Lillies of the Valley , pansies and roses in violet. F) Bright pink, all-over floral sprays. G) Same flower sprays as F in reds and browns. All highly glazed.
Sidewall - fragment
, 1855–70
Block-printed on paper

Bouquet of roses, poppies, anemones and various types of leaves, printed in gray, aqua, chartreuse, olive, mauve, blue, coral, etc., on gray octagonal support.
Sidewall
, 1905
Block printed and flocked paper

Red flocked floral paper used in the hall. Diaper pattern composed of foliage and bow knots with tassels, with inset floral bouquets in vases.
Sketchbook Page: Elm Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of an elm leaf.
Flounce
, 18th century
linen Technique: bobbin lace

Bobbin lace flounce, symmetrical floral forms in brackets; 18th century Brussels bobbin lace
Plate 15, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants. At left, strapwork with sphinxes and pearls. At top, a winged figure with a headdress rests each hand on a sphere. At right, pairs of ignudi and putti flanked a faceted central gem.
Jug
, ca. 1815–18
Glass

Barrel-shaped body tapering at neck, shaped lip with pouring spout, loop handle; cut around center with band of large printies enclosing faceted diamonds, around neck with hollow faceting, around base with short vertical fluting; ground pontil mark bottom.
Rough Study of Choppy Sea
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Choppy sea in foreground under a cloudy sky.
Textile
, ca. 1855
cotton Technique: printed by engraved roller and block printed on plain weave

Printed fragment showing the marriage of Napoleon III to Eugenie. Vignettes are separated by the Column of Vendome with massed standards and a large "N" on a shield and by balustrades with foliage. Design in purple on a buff-colored ground with some areas of the design reserved in white.
Decorated Squares Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Two rows of squares, decorated with different designs, alternate between positive and negative motifs, creating a checkered pattern within the design. The positive spaces squares are all the same abstract tall grass motif. While other squares resemble a similar soot ball characteristics but differentiate amongst one another.
Rank badge
, 19th century
silk, metallic yarns Technique: embroidered in satin and couching stitches on ribbed plain weave

Rank badge of a sixth-rank civil official. A white egret in the center is surrounded by swirling clouds, waves, a small pagoda under a tree, and auspicious symbols.
Equipment Used for Making Silk Textiles
Robert Bénard, French, 1734–1772, ca. 1775
Engraving on paper
Print

Equipment Used for Making Silk Textiles
Waves Crashing in front of Distant Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of ocean with wave breaking in right foreground. Large rock at right behind wave, and large cliff in right distance.
Sampler
Mary Badger, English, 1756
silk embroidery on wool foundation, linen edging Technique: embroidered in cross, eyelet, satin, and half cross stitches on plain weave foundation

Within an elaborate floral border the Ten Commandments arranged in tablet form followed by signature and date.
Study of Light and Shadow on Ocean and Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of dark, rough seas from foreground to horizon line.
Sketch of Lisieux
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on grey-brown paper
Drawing

A street with half-timbered houses and figures.
Three urns
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Three urns of different sizes, shapes, and styles.
Design for a rug
Unknown, about 1905 (?)
Pen and ink, watercolor on paper
Drawing

Vertical rectangle. Design for the lower right section of a rug, in the Oriental style. Central field and borders show use of stylized flower motifs.
Dado
, 1775–1825
Block-printed on handmade paper

Grisaille with brown alternating panels.  Larger horizontal panels with 2 classical draped figures flanking tripod.

H# 631
Fishnet
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1894
Silver
Matchsafe

Oblong, curved corners, rounded sides, featuring all-over raised decoration of fish, crabs, and other sea life inside a net, reverse identical. Lid hinged on side. Striker in grooved recess on bottom.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Horizontal rows of overlapping circles composed of open, foliate scrollwork. Circles alternate between thin, delicate line work and heavier foliate detailing. Pattern printed in beige, white and light green on khaki ground.
Head of the Laocoon (from a cast)
Izabel M. Coles, American, 1890 - 1964, ca. 1909
Charcoal on paper
Drawing

Head and shoulders of a beard male classical figure, the head turned in right profile.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

On gray ground, with horizontal stripes. White vases holding white bouquet, garlands connecting to other vases.
Frieze
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Horizontal repeat of large vegetal medallions with elaborate acanthus scrollwork borders. An allover lateral herringbone pattern gives the panel the appearance of a woven textile. This design is printed in shades of green, blue, brown and gold on a beige ground.
Band
, 16th–17th century
linen Technique: withdrawn element work

Fragment of a band with geometric birds, flowers and plants.
Bar Harbor, Maine
Arnold William Brunner, American, 1857–1925, 1887–88
Graphite and white heightening on brown paper
Drawing

Scene from low shore, sailboats and land beyond. Sailboat, upper right.
Weaver's book
, 17th–18th century
leather, paper, and ink

Manuscript book of weaving designs and instructions. Thirty-one sheets of paper, some of which have been partly cut out, containing registers of births, etc., in the Jackson family, account of sea battle in 1739, recipes for bite of mad dog and for piles, epitaphs, poems.  Written in several hands.  First weaving plan is dated 1689, last is 1761.  Instructions are for "huggabacks", damask diaper, coverlids, shagg petticoats, jersey, "sattan", linsey wolsey for petticoats, etc.
Sampler
, late 19th century
wool and silk embroidery on linen foundation Technique: embroidered in cross, stem, and satin stitches on plain weave foundation

Most of a border of geometric pattern lozenges, some containing adages: "Forget me not," "Token of Love," and "Respect,"  worked in brown, green, and beige. The sampler was added to at a later date, with spot motifs in bright colors, some geometric but also including a lamb, dogs, a butterfly, baskets of flowers and a teakettle.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Large and small alternating scrolled anthemions, c-scrolls, arcs of roses; treillage pattern. Printed in burgundy, gray-blue, white on light gray ground. Two borders printed across the width.
Study of Gently Rolling Waves and Clouds
William Trost Richards, American, 1833–1905, 1890–1901
Pen and black ink on off-white wove paper
Sketchbook folio

Beach in foreground with several rown of small waves coming onto shore, with dramatic clouds in sky. Miscellaneous pen strokes in margins to left, right, top and bottom of image.
Fragment
, late 18th century
cotton Technique: madder colors block printed, blue applied by brush on plain weave

Non-directional pattern of floral sprigs on a deep purple background.
Sampler
, 19th century
cotton Technique: withdrawn element and cutwork with needle made fillings, including needle knotting (tenerife)

Twenty-four squares of white work pattern.
Cap streamers
, 1770–90
linen, horsehair Technique: needle lace

Design shows serpentine garlands of small-scale flowers and leaves with connecting bow-knots in repeat pattern.
View of Queen Square
Robert Pollard, English, 1755 - 1838, 1789
Engraving and aquatint on paper
Print

Wide cobblestone street, foreground; a group of people, center, a cart with kegs beyond. Grass park and open hills in the distance. Title, artists' and publisher's names, date, and dedication below.
Seated allegorical figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Seated allegorical figure with raised right arm. Study of face below, upside down.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Square motif in center containing four pink flowers and four green leaves. Fleur-de-lis motif adjoining on each of four sides, with acanthus scrolls between motifs. Printed on patterned background.
Dessert Knife with Mother-of-Pearl Handle
François Nicoud, French, active Paris ca. 1875-1890, ca. 1890
steel, gold plated, silver, mother of pearl
knife

One of twelve dessert knives. Rectangular blade with pointed tip, devoid of surface decoration. Banded gold plated ferrule leads to mother of pearl handle, decorated with carved diagonal fluting, slightly widenning to rounded terminal.
Design for a Painted Porcelain Plate, Les Poires (Pears) from the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain plate, rondel. A garden scene depicting pear trees at right with stone wall and gate at left middleground.  A figure of a gardener talks with a young woman while pointing to two children trying to reach the pears on tree limbs hanging outside the gate.  He appears to be telling her to stop them from stealing his pears.  A tall ladder with basket at right foreground leans against a tree.  A rake and pear-filled basket at left foreground lie on a dirt path.
Chrysanthemum Blossoms
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Chrysanthemum blossoms and leaves are thinly craved out using the pull-carving technique. Other blossoms are cut out using geometric patterning. There is significant damage on the upper left corner.
Bag face
, mid–late 18th century
silk Technique: satin and chain stitch embroidery

Cream white taffeta embroidered in "colonial" silks. At center, a woman is seated beside baskets of flowers. A boy displays a white bird. Two small children are at the side. Their faces are painted, and a floral vine encloses the scene.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, textured

On blue ground, silvery vertical bands and staggered anthemion motifs in gold and gray.
America
, ca. 1750
Gilt metal, wood (frame)
Plaque

A relief panel of  a  figure with plumed headdress, seated on a crocodile and holding a spear in front of trailing vines.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Pink and white beehive-shaped designs, black leaves on tan ground.
Elevation of a Monument to Francis I, Emperor of Austria
, 1815–1830
Pen and black ink, brush and gray wash on off-white wove paper
Drawing

An ovoid pedestal with the arms of Francis I stands atop a drum base on steps. At top is the figure of the Emperor wearing a laurel wreath and holding a scroll. Below him sits allegorical figures; at left, Justice. The drum is divided into panels, each with three women.
Cap
, 17th–18th century
silk, metallic threads Technique: embroidered

Yellow silk with embroidered design of flowers, in silks and silver springing from urns of silver and twining about a silver ornamental motif. Trimmed with silver lace. Edge bound with red silk ribbon. Lined with green silk.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with four rocaille cartouche designs. All of the plates are signed and numbered.
Design for a Door Case
Giuseppe Barberi, Italian, 1746–1809, 1789–1793
Pen and brown ink, brush and brown wash
Drawing

A variation of 1939-88-1693, the proportions stressing the width. The overdoor consists of the medallion with two lateral motifs; it does not reach into the coffered part. All the needed dimensions are indicated. The height, from the floor is "18 3/4", from the upper end of the lower from of the dado, "17 5/6"; at the upper edge are two accountings, horizontally written.