biglam/cooper-hewitt-alt-text huggingface dataset:
Coffeepot with Landscapes
The Sweetser Company, New York, New York, active 1900 – 1915, 1900–1915
silver, gold, ivory
coffeepot

Cylindrical form with applied gold edges and chased with elaborate Chinese-inspired landscapes; long curving spout, square in section; shaped handle with ivory insulators. Tapering conical lid with stepped knop.
Drawing
T. P. Devrient, active ca. 1860, 19th century
Brush and gouache on pre-printed squared laid paper

A basket of purple flowers and green leaves. A rinceau of green leaves and red flowers on right; a row of vertical flowers on left, in red, purple, blue, and yellow.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Large, interconnected wreaths of vines with foliage on bacground of short stripes forming geometric patterns. Printed in greens on cream-beige ground. Printed in selvedge: "Liberty Papers".
Cap crown
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

Cap crown with a design of large conventionalized leaves, flowers and floral clusters surrounding a central heart-shaped motif.
Figure Toy
Harriet Blackstone, American, 1864–1939, 1922
Brush and oil, graphite on board
Paper doll

Paper doll of a male figure dressed in a white pants and a yellow shirt, identified as "Bob."
Textile
Arthur Wilcock, ca. 1890
cotton Technique: roller printed on supplementary weft pile (velveteen)

Cream colored cotton velvet, printed in design of horizontal rows of crocus and daffodils, in shades of dull rose red.
Fragments
, 18th century
silk and metallic thread Technique: predominantly warp-face plain weave patterned by discontinuous supplementary weft floats, discontinuous supplementary weft floats bound in 1/3 twill, and continuous supplementary weft float patterning

Two fragments of an all-over pattern dominated by exotic flowers in bright colors and metalics on an off-white monochrome fine floral vine.
Sketchbook Page: Page of Poetry
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Page of poetry beginning with the lines: "With one hand placed / Lightly on her slender waist-"
Houses in Rouen
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Half-timbered houses, drawn from a window opposite.
Sampler
, 19th century
silk Technique: sprang

One end of a piece of sprang with thirteen different patterns.  Blue silk threaded through decorative holes divides the patterns.
Sidewall - fragment
, ca. 1880
Machine-printed

Pattern of metallic gold foliage with gray blossoms (faded white) on yellow ground embossed to imitate a fabric weave. Aesthetic or anglo-Japanesque in style.
Afternoon at a Ranch, Illustration for Century Magazine (XXVIII, No. 4, August 1889, p. 502)
Mary A. Hallock Foote, American, 1847–1938, 1889
Wood-engraving in black ink on paper
Print

Patio of a ranch house, with a young girl reclining and sleeping at the far end.
Border
, 1840
Flocked

Pair of rectanglue cartouches, separated by scroll and strap work. Design outlined in bright red flocking, filled with light (arsenic) green on glossy gray ground. Printed three across.
Jeanne d'Arc
Francois Kettinger et fils, ca. 1825
cotton, lined with linen Technique: printed by engraved copper roller on plain weave
Valances

Design is in reddish purple on white ground.
"Vase reposant sur deux Sphinx adossés", plate 2 from the series Vasi...
Jean-Laurent Legeay, French, ca. 1710–86, 1768, published 1770
Etching on paper
Print

Architectural fantasy. A framework of beams and posts/piers of a building without walls and roof.  Tree branches and small bushes grow or project from the structure.  In the foreground, at right, is a large scale mortar, placed on a horizontal pedestal.  In the far distance, at left, two small scale figures are standing next to one of the posts/piers.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Round scrolling acanthus scrolls with attached floral sprigs, alternates with smaller versions of same. Very open design. Printed in yellow, light blue, and tan on light colored ground.
Cap
, ca. 1890
cotton Technique: knotted cord

Head covering or cap with two long tassels and cords to tie.
Ceiling paper
William H. Gledhill, 1905–1915
Machine-printed paper

On light gray, scroll light green-gray treillage with gold highlights and wreaths containing pink floral clusters.
Ceiling paper
, 1905–1915
Machine-printed paper

Large quatrefoil shapes joined together with foliate wreaths. Green ribbons and red fleur de lis interspersed. Printed in red and green on tan ground.
Sketchbook Page: Sweet Briar
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketches of flower from above, showing five petals, and from side. 
Verso: Faint rubbing of sweet briar leaf in blue crayon.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Printed two across. White floral swags centered between two bands of blue foliate scrolls. Background shades from blue at bottom to light yellow/gray at top.
Sketchbook Page: Man in Profile
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a man in right profile.
Portrait of Lord Beauclerk
Richard Dighton, British, 1795–1880, 1870–80
Pen and ink with watercolor
Drawing

Vertical rectangle. A man wearing face whiskers and a top hat is seen full-length standing in left profile. He carries a walking stick.
Two Rings, plate I. i. in Perspectiva. Corporum Regularium
Wenzel Jamnitzer, German, 1508–1585, 1568
Engraving on white laid paper
Print

Two decorative rings.
The Sun, from The Seven Planets
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on paper
Print

The figure of the Sun stands, facing right in profile. He wears a crown and in his right hand carries a wand which bears a face with gleaming rays. He is accompanied by Leo (the lion). At upper left, the word "SOL" and the symbol for gold.
Sand caster and cover
, 15th century
Chased brass inlaid with silver

Cylindrical body with a slightly rounded cover. Fitted inside with pierced plate, Exterior damascened with interlacing geometrical designs.
Sidewall
, 1775–1825
Block-printed on handmade paper

On light blue ground, dark blue and white floral and geometric blocks forming vertical stripes.
Chinoiserie Pavilion
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on white wove paper
Drawing

The building stands on a podium with eight columns supporting the porch; and solid walls at the narrow sides. A flat roof, with gabled structures surmounting it, topped with sculptures of dragons. Three steps lead to the pavilion, which is set in a garden area.
Sidewall
Jeffrey & Co., 1836–1930 London, England, 1875–1900
Block-printed and embossed on continuous paper

Paper has textile-inspired design of large-scale stylized floral and foliate motifs printed in turquoise, mustard, and beige on navy ground and embossed.  Raised motifs textured like textile surfaces. Background embossed with texture to simulate woven textile.
Book paper
, 1720–60
Block-printed, embossed, gilded

On stippled gold ground, embossed white pattern; entwining scrolls, foliage, with dogs, man blowing horn are worked in.
Sketches of Tables and a Chest
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Left, one end of an ornate table. Right, ornate chest. Table leg and chair arm center.
Band
, possibly 17th century
linen Technique: withdrawn element work with needle lace (reticella), bobbin lace edging of continuous braid

Band with a grid of withdrawn element work of needle lace (reticella) with continuous repeat of a scrolling vine. Edge of bobbin lace of continuous braid like.
Design for a Painted Porcelain Plate, Le Lion (Leo) from the Le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown, black ink, brush and brown, black wash, pink, tan watercolor, white gouache, red crayon, graphite on cream laid paper mounted on cream laid paper, bordered in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene at a masquerade party in a bar.  Figure of a man dressed in a lion's costume, center forground, has his arms around a young woman dressed as Diana who he appears to be kissing.  She wears a crescent crown and holds a bow.  She tells him to "take his paws off of her." She has her right foot planted on a platform upon which is a table with two wine bottles and a stool, left middleground.  Behind an arched opening, right background, there are two costumed figures who appear to be dancing.
Sidewall
, 1905–1915
Machine-printed paper

On textured gray ground, thin vertical bands containing double scrolls with staggered medallions composed of central motif in white with pearl border surrounded by acanthus leaf, pearl garlands and half arcs.
Waistcoat
, 1770–1785
silk Technique: satin, stem and knot stitches in twenty colors of silk on silk 7&1 satin foundation; applique of machine-made net; areas of painted silk underneath embroidery and applique

Gentleman's waistcoat with a dense border design at bottom and front of large fantastical flowers. Body has a detached arrangement of small leaves and floral sprigs.
Border
, late 18th–early 19th century
linen Technique: needle lace

Border with asymmetric floral shapes, freely spaced.
Medal
, 1892
aluminum

Medal commemorating the World Columbian Exposition at Chicago.
Obverse: City view on globe; above: WORLD'S FAIR; below: SOUVENIR
Reverse: Landing of Columbus
The Union Army under General Carr at Pratt's store
Francis H. Schell, 1830 – 1909, 1887
Pen and ink on cream illustration board
Drawing

The Union army and a canon are lined up in front of "Pratt's Pea Ridge Store." The camp is in the background.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace border, scrolling leaves; early 18th century, Bruges.
LE BASSIN DE CERES
Adam Perelle, French, 1638 – 1695, 1675–1703
Etching on laid paper
Print

View of a large basin with a fountain made up of sculptural groups featuring the figure of Ceres surrounded by putti holding sickles and bunches of wheat, representing Summer. The basin edge is lined with bunches of wheat, and the whole is framed within a bosquet (grove) with paths leading outwards. Figures (courtiers), horseman, and gardeners (moving a planted vase in the foreground) throughout the grounds. The plate is titled with a description.
Chambranle à Balustres
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe design. Either side has a fluted baluster with a Corinthian capital, and a band of guilloche along the top. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the baluster is on the right of the plate, and a cross section of the top shelf is above the elevation. The plate is signed and numbered.
Border
, 19th century
linen Technique: bobbin lace (late Valencienne ground)

Valenciennes band in design that shows alternating conventionalized motifs placed on pointed leaves which form the border.
Verroux sur Platines Ciselées
Richard de Lalonde, French, active 1780–96, 1775-1784
Etching on off-white laid paper
Print

Three lock designs with acanthus leaf, rosette, scroll, and arabesque ornamentation. The plate is signed and numbered.
Design for an Urn
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

An urn upon feet and with a facuet at right, stands on a bridge on the distant rear parapet of which three men gaze at the water and a park. A curtain is in the right top corner. In a frame.
Trimming
, 19th century
silk Technique: cut supplementary warp pile (velvet)

Trimming fragment in a design of a scrolling stem with leaves in red cut velvet on a yellow ground.
REPRESENTATION DE L’EGLISE CATHEDRALE DE STRASBOURG
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

An evening view of the Strasbourg Cathedral illuminated, with smaller gatherings of people and carriages watching. The plate is titled, signed, numbered, and features the Strasbourg coat of arms.
Title Page
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Title page with the title lettered on a plinth or pedestal, topped with a crowned cartouche and grotesque motifs, shell, helmets, winged lions with breasts, mascarons (masks), festoons of leaves. A mascaron below framed by flaming torches, scrolling leaves (rinceaux), fleurons, and cornucopia. Framing the plinth, on either side- banners, flags on spears, drums cannon, helmets, shields, quivers of arrows, and horns. The plate is signed.
Great Leaders, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Robe
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a full-length satin robe with an embroidered design of roses and leaves.
Printing block
, 1850–75
walnut wood, brass

Block for printing textiles with a pattern of tulips and leaves arranged as a corner design. Carved wood and metal rods and strips set in the block create the design. In the field is a carved pattern of dots in diagonal rows. On the back of the block is hole, which probably held a handle.
Cloudy Sky, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 1870
Graphite and white crayon on green laid paper; verso: graphite and brown crayon
Drawing

Atmosphere sketch showing layers of puffy and hazy cloud over or near Hudson, New York. In the lower half, the contours of multiple billowing clouds overlap one another. Above, the sky is filled with hazy, high altitude clouds, articulated as loose diagonal strokes. At upper center, the sun or moon glows through this thin veil of clouds.

Verso: Portion of a panorama showing a loosely-rendered view of billowing clouds at sunset over a rolling, wooded landscape. An anthropomorphic cloud that resembles the head of a person is included at upper left.
Studies of Two Left Hands
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

Both hands are shown raised and in profile, making a loose fist. Top: the thumb is not shown; bottom: the point of the thumb is shown.
Design for the Letter E of a Pictoral Alphabet: Etude (Study)
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letter above, flanked by intertwining rinceau. A man resembling King Francis I of France is seen studying at night.
Elévation d'une Bibliotheque
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bookcase with three panels at the top featuring portrait medallions, a portrait bust, trophies, garland, and ribbons. The plate is signed.
Buttons
, late 19th century
brass, enamel and cut steel

each button shows a design of four flowers [?] with cut steel centers, arranged around a central cross of cut steel; pierced work, ornamented with colored enamel.

Component -a is on card 10
Component -c is on Cooper Union Exhibition card 4
Wall Elevation of a Hall
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation shows series of archways separated by pilasters below festoon trim, each draped and with alternating overdoor decoration.
ATTRIBUTS PASTORALS
Jean-Charles Delafosse, French, 1734 – 1789, 1772–77
Crayon-manner etching in red ink on laid paper
Print

Design for an ornamental hanging trophy featuring objects associated with a pastoral theme. The objects include a basket of flowers, hat, shoes, shepherd's crooks, flutes, a sickle, bagpipe or musette, drum, scissors, tambourine, ribbon, and flowers. The plate is titled, numbered, and signed.
Mountains and an Evergreen, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape and botanical sketches showing views of mountains and an evergreen tree in Mexico. At center right, a craggy, pointed mountain peak is visible beyond overlapping ridges that create a shallow "V." At left, a tall evergreen tree, rendered darkly, is shown with a tall canopy broken up into bunches.
Chariot of Apollo, Ceiling Design for Count Bielinski's Cabinet, Warsaw, Poland
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1734
Pen and gray ink, brush and watercolor, gouache, gold paint, black chalk on white laid paper
Drawing

The central area is taken up with simulated sky with the chariot of Apollo.  Around the edges, allegorical figures seated on clouds; simulated architecture of vaults and pendentives about the outer edges, within an architectural frame.
Chambranle à Pilastres.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation of a doorframe with pilasters. Either side has a fluted pilaster with a rosette at the top, and a fluted design across the shelf at the top. Below the elevation is a scale bar of four French feet ("4 Pieds"). The profile of the pilasters is on the right of the plate; the cross section of the top shelf is at the top of the plate. The plate is signed and numbered, although the lettering of the plate is not evident in the crease of the album.
Trimming
, 19th century
silk Technique: woven

Yellow and pink trimming fragment in a design of lozenges ornamented with smaller lozenges.
Frame with Helmet and Dragons
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, topped with a plumed helmet. Dragon heads at upper left and upper right, winged dragon figures below.
Vuë de la Place du Château Impérial à Nuremburg (View of the Imperial Castle Square in Nuremburg)
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the Imperial Castle Square in Nuremburg. A rainbow arches prominently through the blue sky behind the castle, where the print was cut out and the page below colored to form the rainbow. The castle features a rectangular tower at left and an entryway emblazoned with a yellow coat of arms. Shorter buildings frame the square, with the windows cut out such that fabric and thread are visible through the openings. A horse-drawn carriage proceeds from the palace towards the front, and figures with horses are scattered around the square. At right, a cylindrical tower stands on a small green rise.

Verso: Patches of colored fabric, visibly attached with thread. Printed label: Vuë de la Place du Château Impérial à Nuremburg. / Prospect der Reichs = Vesten zu Nürnberg. / Med: Folo. No. 57. / Cum Gratia et Privilegio Sac: Caes: Majestatis. Georg Balthasar [---] d. A.V.
Design for a Reliquary
Luigi Righetti, Italian, 1780 - 1819, 1802
Pen and ink, brush and gray watercolor, graphite on paper
Drawing

Vertical rectangle. In the center of the base of the reliquary, a medallion with the monogram "FL," above a crown. The shaft is shaped like a vase with two heads of eagles above supporting leaves, upon which the receptacle is standing. On the top a cross, with cherubim at its foot and garlands. Scale and inscriptions below.
Plan et élévation d'une porte d'Hôtel
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of a mansion door decorated with helmets, garlands, mascarons, and a carved overdoor relief with rondel with lion head, helmets, spears, fasces, and quivers. The plate is signed.
Medallion
, 5th–8th century
Warp; S-spun linen. Wefts; S-spun linen. S-spun wool Technique: slit tapestry with supplementary wrapping

medallion with image of running warrior in polychrome.
The Chastisement of Psyche
, early 19th century
silk Technique: printed on 4&1 satin
Sash

Long and narrow sash printed with images taken from Pompeiian wall paintings.
Beach at Low Tide, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881
Charcoal on paper
Drawing

Horizontal view of a beach at low tide with small boats standing in to port and one boat being beached with a carriage.
Sallieres et Tabatières [Salt Dishes and Snuff Boxes], plate 69 in Oeuvres de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Etching on off-white laid paper
Print

1921-6-212-23-a: Three projects for salt cellars and two snuffboxes...;     1921-6-212-23-b: Cruets for oil and vinegar, decorated on cover and...
Designs for the Letter C
Jean Baptiste Piauger, French, active 1760s, 1767
Etching and engraving on laid paper
Print

A plate of six designs for the letter ‘C' from a series of decorative letters, published in Pouget's ‘Dictionnaire des chifres […]'. The plate features six ornamental inhabited letter designs, two per row for the letter ‘C', featuring putti, male and female figures, garden landscapes, with rococo ornament, such as fleurons, rosettes, acanthus leaves, c-scrolls, s-scrolls, and friezes. The plate is numbered.
Two Spanish Women Promenading
Constantin Guys, French, 1802 – 1892, ca. 1860
Pen and brown ink, brush and watercolor, gray wash on paper
Drawing

Vertical rectangle. Two Spanish women promenading, both wearing gray skirts, blue aprons, black scarves, gold jewelry and holding fans with gold-colored sticks. Woman on left wears bright blue scarf and apron; woman on right wears a plaid apron.
The Assumption of the Virgin
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

The Virgin sits upon clouds, with outstretched arms, conveyed to Heaven by angels; two cherubim looking on. Below is the sarcophagus into which two apostles look. Saint Peter is kneeling at left, two apostles standing at right. Framing line.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Title page and design for double doors. At the upper portion of each door panel, decoration composed of hunting horns, arrows, dead rabbits, birds, and fox (?); boars with bared teeth at the center of each decorative scheme. Scale at lower center.
VASES NOUVEAUX
Maurice Jacques, French, ca. 1712–1784, 1760-1775
Etching and engraving on paper
Print

Vase design filled with flowers and elevated on a monumental plinth. The plinth is decorated with a wave band at the top, and festoons running down the sides. The title of the series and publication information is inscribed on a plaque at the center. The objects are placed in a landscape, with a sense of ground and sky etched into the plate. The plate is lettered with the name of the engraver and numbered.
Project for a Ceiling
, late 17th century
Graphite, pen and ink, brush and watercolor, sepia on paper
Drawing

At corner, an escutcheon flanked by suggested mouldings. At left, an acanthus rinceau for the frieze. Below, upright acanthus. Two ceiling beams above.
Square
, late 19th century
cotton Technique: resist printed on plain weave

Small white flower pattern and border on a deep purple-red ground.
Title Plate
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving on off-white laid paper
Bound print

Folio 2, title, plate 1 of series of 6. Second page of frontispiece of book. Within rectangular framing lines, a rocaille cartouche with winged putti at top and bottom, the putto figure at lower left supporting a crowned coat of arms. Printed text within cartouche.
Design for Monument
Felice Giani, Italian, 1758–1823, ca. 1800
Graphite, pen and ink, brush and wash on paper
Drawing

Measured elevation showing an architectural monument with the bust of a woman at center and Greek cross at top. Inscribed on design are the Latin letter A and the symbol for Omega. More text on monument above and below.