biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
Elizabeth Ann Herpin Andrew, American, 1749 - 1817, 1755
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Alphabets, highly stylized floral elements, and an inscription embroidered in colored silks on a white linen ground. Surrounded by a chain link border with four-leaf clovers and spades in the corners.
The inscription reads: 
Elizabeth Ann Herrin Andrews 6 years 10 days October the 17th Anno Domini 1755
Wall Elevation with a Mirror
Étienne Charpentier, French, 1707 – after 1792, mid- 18th century
Etching and engraving on laid paper
Print

An interior wall elevation featuring a central mirror in between two sets of doors, ornamented with rococo paneling. The central mirror is framed by two narrow panels and over-mirror paneling decorated with fleruons, strapwork, shell, plumes, and acanthus leaf motifs. The overdoor panels feature blank cartouches made up of similar motifs - shells, c-scrolls, plumes, acanthus leaves and fleurons, which also feature on the narrow panels in between the mirror and the doors. Below the mirror is a dado level made of three panels. Below the elevation is a scale and an outline of the wall paneling, as seen from above, illustrating the shape and depth of the carving.
Bamboo Bridge at Buga, Colombia and Girl Carrying a Jar, Cartago, Colombia
Frederic Edwin Church, American, 1826–1900, July 1853
Graphite on tan wove paper
Drawing

Architectural, figural, and landscape sketches of a bamboo bridge in Buga, Colombia, and a young woman carrying a large clay jar on her head at lower left, horizontally oriented. At center, the arched form of the bridge stretches across the composition, supported by an A-frame structure. At right, a man wear a hat descends the bridge. Below, a stream and its steep bank are visible. Faintly rendered clouds comprise background.
Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, ca. 1767
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace, overmantel mirror, and panel above) illustrated as a detailed wall elevation with two different options in the design (split in half). The designs feature rococo ornament, c-scrolls, scrolling leaves (rinceaux), flowers, sprigs, palm leaves, asymmetrical cartouches, shells, webbing, and fluting. Above the overmantel mirror is an ornately sculpted panel (boiserie) in the form of a cartouche. The narrow paneling flanking the chimney piece feature roundel paintings (landscape and putti) framed by sculpted rocaille motif and flowers. Below the narrow horizontal paneling is a plain molded dado level. The plate is numbered and signed, with a scale below.
Cross Section of a Three-Story Building
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Cross section of a three-story building showing the interiors on the left side of the plate and details of various moldings on the right. The interior features various decorative elements including panel trophies, carved and painted overdoors, allegorical paintings, and ornamental clasps of shells and mascarons. An inscription at the bottom of the page indicates that this is the cross section of the stables of the Palais Royal, the façade of which is illustrated on the title page of the series, 1921-6-216(62). The plate is signed and numbered, but it is trimmed on the right side.
Design for a Ewer with Spout and Loop Handle
, 1600–1650
Graphite, red crayon, pen and ink, brush and gray-brown watercolor on laid paper
Drawing

Seen from the front, with loop having a horizontal direction. A mask below the spout. The alternative suggestions refer to the loop and have or omit a female gaine and suggest different kinds of scrolls. Verso: shows geometrical figures with explanations in pen.
Heur et Malheur (Happiness and Woe)
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver
Token

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (happiness and woe) / GAYRARD-F. Reverse shows a mouse helping free a lion from a trap, and the inscription: LE FAIBLE SAUVE LE FORT.
Ocean Seen from a Cliff, Prout's Neck, Maine
Winslow Homer, American, 1836–1910, ca. 1894
Brush and watercolor on wove paper
Drawing

View of the ocean seen from cliff with sky at horizon rendered as slightly darker blue-gray above the expanse of light grey-green water.
Ornamental Vase Design
Georges Charmeton, French, 1623–1674, 1677-1703
Engraving on laid paper
Print

Lidded vase with a pinecone finial. On either side of the body of the vase are winged female figures; the tails connect to the lower half of the vase, which is heavily ornamented. At the center is a grotesque mascaron, near whose mouth putti on either side hold garlands of leaves and fruit. Two youthful grotesque male figures support the vase on their shoulders along the vase's foot. The plate is lettered and numbered.
Trophy with Winged Hourglass
Romolo Achille Liverani, Italian, 1809 - 1872, 1830–1850
Black crayon, pen and black ink, brush and bistre on paper
Drawing

An assembly of a tiara, a mitre, a prelate's hat, a crown, a diadem, a crozier, two torches, branches, ears of grain, and a scythe.
Embroidery patterns
, mid- 19th century
linen Technique: stamped

Five squares each with a design stamped on it and each, except for component a, with net attached, ready to be worked in embroidery and cutwork stitches. Component "a" has roundels of flowers and leaves forming a border and central ornament. Component "b" has small flowers and leaves in a border and center ornament. Component "c" has a border of a large floral design and plain center. Components "d" and "e" have flowers and curving bands as border and center ornament.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design depicting a draped woman in front of bands of wave pattern and egg and dart, holding a basket on her head from which emerges a tall vase and scrolling leaves.
Design for Rococo Ornament
P. Ludovik, French?, active mid 18th century, 1768
Etching on laid paper
Print

Design for rococo ornament featuring rocaille scrolling leaves, cartouches, shells, foliate branches, c-scrolls, and a pierced balustrade. An unknown publisher's address is partly rubbed out in the lower center, with some words still legible. Drawing without text, in reverse at Waddesdon Manor, The Rothschild Collection (National Trust), acc. No. 1325, cat. No. 219i
Study of Grass in Seed
Sophia L. Crownfield, American, 1862–1929, ca. 1890
Brush and oil on black paper
Drawing

Vertical sheet depicting grass in seed
Fragments
, 1750–99
Silk

Ribbed cloth, brocade
Pieced fragment shaped as for sleeve, white with self[sic] pattern of swags of drapery and brocaded in polychrome pattern of spaced bouquets and tendrils
Wahrlich ich sage euch
Guido Reni, Italian, 1575–1642, mid- 18th–mid- 19th century
Engraving on paper
Print

Wahrlich ich sage euch
Letter file
Louis Comfort Tiffany, American, 1848–1933, ca. 1910-20
Favrile glass, bronze

1997-11-4/9: Six-piece desk set of favrille glass and bronze in...;     1997-11-4: One piece of a six-piece desk set. Letter file of ...
L'ÊTÉ
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a young couple in a landscape; the woman reclines against sheaves of wheat and scythe, while the young man reclines on the ground and holds a longer scythe in his hand. The scene is framed by ornament including branches, scrolls, vines, mascarons, and a cartouche. The plate is signed.
Cartoon for cotton printing: Six Scenes from the Life of Jeanne d'Arc
Charles Abraham Chasselat, French, 1782–1843, 1817
Pen and black ink, brush and brown and gray wash on three joined sheets of brown wove paper, laid down
Drawing

Six scenes from the life of Jeanne d'Arc (1412-31) are depicted, her march on Paris (upper left); her arrow wound being dressed during the siege of Paris (upper right); the capture of the Tourelles, which liberated Orléans from the British (lower left); Jeanne praying before the shrine of St. Catherine, symbolizing the Church of St. Catherine-de-Fierboys, where she received her sword (left center); captured with her brothers, she is brought before Philip the Good (center right); and her burning at the stake in Rouen (lower center). On an obliquely-placed stone slab in the scene showing the taking of Orléans is the artist's signature [in ink].
Sewing sample
, 1875
Linen; silk

Small square of white linen, canvas of fine quality worked in red silk; center, a group of various stitches in small oblong forms; corners decoration in cross-stitch. Edge bound in red silk.
Square
, late 19th century
linen Technique: grid of withdrawn element and needle lace with edging of different needle lace called hedebo (see notes)

Central square of withdrawn element with a geometric pattern of squares. Corners of the square more heavily worked to create a diamond shape within the square. Border consists of a series of circles that form quatrefoils.
Arms of Pope Urbanus VIII
Pope Urban VIII, ca. 1630
Pen and brown ink, gray wash, squared in black ink, ruled border in pen and black on white laid paper
Drawing

Verso: black chalk, rood study???
Telemaque et Mentor, plate 29 from the Histoire Ancienne
Honore Daumier, French, 1808 – 1879, 1842
hand colored lithograph on paper
Print

Vertical rectangle. On a cliff in foreground, Mentor, crouched, hands between knees, grins as Telemachus falls backwards into the sea at the right.
Fragment
, 17th century
silk, metallic Technique: woven

Scrolling leaf bands framing central palmettes in white and silver.
Floral Ornament
, 1650–75
Pen and brown ink, brown wash Support: white paper laid down
Drawing

Vertical format. Shown are the acanthus calyx nearly complete and the left rinceau. It has two scrolls with blossoms at their ends. Tulip blossom hangs downward knot of ribbon is intended to connect the two lower scrolls of the rinceaux
Cooper Union Museum Lace Study Card
Cooper Union Museum, late 17th century
linen Technique: bobbin lace
Border

Narrow straight-edged border with a large, solidly massed floral design.
Fragments
, early 19th century
cotton Technique: block-printed on plain weave

White cotton block-printed in cone or pine-shaped motif in two shades of red and blue.
The Church Across the Way
Childe Hassam, American, 1859–1935, January 1916
Etching on wove paper
Print

View from above of a large stone church with a spire, whose steeple protrudes above the top of the composition.
Clasp
, early 19th century
silver
clasp

Shaped purse frame and inner frame pivoting on two pins. Front piece engraved with church and townscape, birds and scrollwork. Suspension ring and diamond-cut knob.
Border
, 19th century
cotton Technique: cross stitch embroidery

Valance or border in heavy white cotton embroidered in blue cotton with a main design of a crow in flight appearing between two sprays of fruit-bearing branches. Flowers, butterflies and bats in a detached design. Border has stylized plants in fret.
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Female figure with arms swung out, the left knee drawn up. She is facing up and to the right. Verso: Sketch for magazine cover.
Fragment
, 18th century
silk Technique: surface stitch embroidery

Conventionalized flowering sprays arranged as detached motifs. Narrow border on one side.
Textile
, 1740–1780
silk Technique: satin weave with discontinuous supplementary weft floats (brocaded), twill fields

Panel of woven silk with a broad yellow satin stripe in the center, flanked by gold-colored satin stripes. Stripes ornamented with small white flowers and geometric strapwork. Central cartouche composed of green leaves on top and a floral garland with ribbons below. Enclosed is a Chinoiserie scene of a seated astronomer with a globe and map accompanied by a youth with telescope.
Molding and Ornamentation
, 1625–50
Pen and brown ink, brown wash, black chalk Support: white laid paper
Drawing

Vertical format, Obverse: top left; left corner of an entablature. Top center: an entablature with right cornice of a broken pediment and an acanthus frieze. Top right: ovolo and leaf as right bottom of a frame; sketch of leaf and scroll motif; bracket, hanging leaf. Center: Frieze with acanthus motifs escutcheons and shells. Bottom: vase, palmette, a motif consisting of two acanthus scrolls, frieze with palmette and acanthus plants. Reverse: top row: two ovoli. Second row: a palmette frieze; body of a pilaster capital. Third row: Upper right corner of an ovolo moulding three mouldings: ovolo with blossom, lyre escutcheons, vivid ribbon. Fourth row: base moulding with palmette and acanthus, at left; ovolo with hanging blossoms, at right; waterleaf crest. Bottom: frieze if fan motifs with shells and of acanthus calice.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of conventional ornament alternating with diagonally placed block.
Design for a medal, Minerva crowing a bust of Louis XV
Benjamin Duvivier, French, 1730 - 1819, 1740
Red chalk on white paper
Drawing

Circular. The standing figure of Minerva, crowns a bust of Louis XV on a partially spirally fluted pedestal, left.
Sketch for "Night"
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Black crayon on paper
Drawing

Nude female figure shown from the rear seated without an indication of the right leg. The right arm is shown, raised, slightly bent at the elbow.
Sarong fragment
, 19th century
silk, metallic threads Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Red silk brocaded cloth (kain songket) with all-over geometric pattern of stars and rosettes in gold brocade, with wide panel at one end showing the "tumpal" motif (row of isosceles triangles). Geometric border in gold.
Fragment
, 18th century
cotton, silk, metallic thread Technique: chain stitch embroidery on plain weave

Cotton muslin with Mughal-style embroidery, mainly in chain stitch, showing detached floral sprays, birds, and insects in colored silks and metallic thread.
Fragment
, 17th century
silk Technique: supplementary warp forming pile (velvet)

Bands of red velvet on yellow background.
Tile
, late 16th century
Glazed earthenware

On glazed rectangular face, a relief representing S. John with the lamb within a decorated arch. The remainder of the tile, including the heavy box-like projection behind the face, is unglazed.
Border
, 1820–50
Block-printed and flocked

Nine swatches of wallpaper borders, including architectural moldings, tufting, ribbon and rod, oak leaves with acorns, corn.
Album of Heraldic Achievements (Devices)
Nicolas Guérard, French, ca.1648–1719, late 17th–early 18th century
Album

Designs for heraldic achievements (devises) featuring cartouches, animals, birds, and mythological figures. Bound with two sheets illustrating various heraldic crowns, coats of arms, and helmets, with accompanying descriptions.
Textile
, ca. 1780
linen warp, cotton weft Technique: block printed on plain weave

Curving stripes and flowers in the field. Two shades of red.
Section of a Deed for Land
, 1498–1759
Quill and black ink on parchment
Calligraphy

Ridge's Early Calligraphy Examples
Elevation and Plan of Music Cabinet with Inlay
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Elevation (upper half of sheet): rectangular 2-door panel at front with inlaid laurel wreath  center; raised on straight slightly tapering feet.  Plan (below center): rectangular top of cabinet.
Album of Prints: First Book of Vases Designed by Edme Bouchardon
Edme Bouchardon, French, 1698–1762, 1737-1749
Album

Album containing the 12 prints from the First Book of Vases Designed by Edme Bouchardon.
Design for Railings, Hounds
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Graphite on paper; verso: graphite
Drawing

Designs for stair railings featuring figures of hounds, their bodies overlapping and elongated. Verso: the central drawing shown in reverse, traced from the recto and rendered in a much looser hand.
Design for a Round Table on Column-Like support
A.N. Davenport Co., 1900–05
graphite on thin, cream paper
Drawing

Round molded and beaded table top raised on plain column-like support sitting on molded base termination in molded and carved animal-paw feet.
Band
, late 16th–early 17th century
linen Technique: needle lace (punto in aria)

Punto in aria trim with a design of scrolls and carnations.
Album of Prints Containing Sheets from the Collection of Vases Designed by A. Panier (Books 1-3), the Collection of Vases or Fountains Designed by A. Panier, and from the Collection of Different Ornaments Useful for Goldsmiths and Founders
A. Panier, French, active 18th century, 1767-1793
Album

Album contains sheets from the Collection of Vases Designed by A. Panier (Books 1-3), the Collection of Vases or Fountains Designed by A. Panier, and from the Collection of Different Ornaments Useful for Goldsmiths and Founders. The prints are engraved in crayon manner and printed in red ink (sanguine). Many of the plates are not numbered or lettered.
"Oblong Fillet Flanked by Two Needle Cases (?)," Plate 5 from "Goldsmith Ornament Designs"
Heinrich Raab, German, active Nuremberg 1640 – 1650, ca. 1648
Engraving on off-white laid paper
Print

Three separate white on black designs for an oval fillet or pendant flanked by what are believed to be needle cases.  The pendant is ornamented with an asymmetrical spray of tulips and leaves supported by swaying stems. The needle case on the left is also ornamented with a curving stem ending in a large florette. A crown of flowers tops the case. On the right, two sides of a four sided case is shown with a bilaterally symmetric floral design of stems and buds. The case is topped with a   flower and a crown.
Frieze
M.H. Birge & Sons Co., 1834, 1915
Machine printed on paper

This is the frieze element from a crown decoration showing four full repeats. A large floral basket hangs suspended from a large blue ribbon with bowknot. This is printed on a striped background. Printed in reds, blues, greens and gray on off-white ground. The drop from the top of the bow to the bottom of the basket is 23 inches.
Hot Water Urn
Samuel Kirk & Son, Baltimore, Maryland, USA, 1815 - 1979, 1830–1846
silver, ivory
hot water urn

Urn (b) consisting of bulbous circular section repoussé and chased with foliate scrolls and flowers on a punch work ground all centered by two rococo cartouches, the center engraved with initials "J.A.B", the other on the back with initials "J.B.P" in Gothic capital letters. Square base pierced with foliate scrolls. Lid (e) with matching floral and foliate decoration and rococo spiral knob finials, unmarked, granular base. Part of a repoussé and engraved tea set consisting of teapot (a), urn with lid (b, e), creamer (c), sugar bowl (d).
Sidewall
, 1880–1890
Machine-printed paper

On mustard ground, symmetrical repeating pattern in brown with light yellow accents: stylized foliage and flower forms. Printed in margin: "1351".
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Tall grouping of three tulips alternates with single low tulip. A pyramid-effect of stylized tulips rises above the single tulip.
Frieze
, 1905–1915
Machine-printed paper, textured ground

Large wave scrolls with large leaves (acanthus), beading and striping. Bottom band of wave pattern and beading. Top has band of stylized dentil pattern with dots. Part of background willed with light green. Ground embossed with floral vining and shades dark blue-green to light green (bottom to top). Printed in metallic gold, metallic silver and light green.
Chintz fragment
, 18th century
cotton Technique: mordants for red, black and brown applied over resist; some areas of red mordant applied by pen; madder dyed; blue applied by brush over resist; chintz on plain weave

Curving vines with exotic blossoms. Band of red at bottom. Outline for shapes visible.
Interior scene with bridal party
, 1770–1800
Graphite and brush and brown ink on paper
Drawing

A bride, accompanied by two figures, is brought before an older bearded man, who holds a candlestick in one hand and raises the cloth from a table before him, under which another man is seen searching. Likely intended as a book illustration.
Scenic
, ca. 1840
Hand painted on paper, mounted on canvas

One panel of a set. Sailing vessel with French flag; buoy in foreground. Mountains in the distance. Village with lighthouse at left. Blue-green sea, graded sky.
Sidewall
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Foliate, spade-shaped medallions repeat in alternating horizontal and vertical rows, linked by symmetrical tendrils of vine-like scroll work. A pattern of small blue dots fills the areas between the spade medallions, and the points of the spades are bordered by floral garlands. Pattern is printed in khaki, cream, light green and light blue on ungrounded paper.
Sidewall - sample
, 1906–08
Machine-printed on paper

Large central crimson blossom with long curving leaves, small flowers above; rinceaux in brown on light brown ground.
Frieze
, 1905–1915
Machine-printed paper

Medallions printed in metallic colors with a shaded ground. Two borders printed across the width.
Fragment
, 13th century
silk on linen Technique: embroidered

Fragment with a narrow geometric band in brown silk on linen.
Design for a Bronze Mounted Vase
Emile Gallé, French, 1846 - 1904, ca. 1890
Graphite on wove paper
Drawing

Design for a symmetrical vase, sitting on a raised foot, flaring out from the bottom, narrowing at the neck, topped with a lipped rim. Its ornamentation comprises an asymmetrical composition with three vine-like tendrils rising from the base of the vase, and terminating in lush leaves. One is short; two longer vines rise up the side of the vase, the largest of which leans over the top of the bowl.
Fragment
, 19th century
cotton on bast fiber Technique: embroidered

Corner fragment embroidered in a design of three blossoms tied in a bow. Trailing floral sprigs, a large scroll, and bows extend outward from the corner. Embroidered in shades of pink and blue.
Campaign ribbon
, 1892
silk Technique: jacquard woven

Line of white, blue, and red. Portrait of B. Harrison above tan eagle on top of red, white, and blue seal and American flag. Inscription: "B. HARRISON /REPUBLICAN". Blue star.
Cravat end
, 1700–1750
linen Technique: needle lace with ground of loop and twist with twist return

Cravat end with a central heart-shaped motif surrounded by strapwork pattern of bands, floral and foliated forms.
Fork Tines with Threaded Screw End for Attaching Handle
, ca. 1700–1800
steel
fork tines

1985-103-261-a: Steel blade, parallel sides with rounded ends. Pla...;     1985-103-261-b: Tapering brass handle, round in section, engraved ...;     1985-103-263-a: Fork has three long curved tines, rounded shoulder...;     1985-103-263-b: Tapering brass handle, round in section, engraved ...
Handkerchief
, late 19th century
cotton Technique: printed on plain weave

Red background with tan printed scene of a handball game in the center. Figures at all four corners with a border of balls and scoop. Shields surround the scene at the left, top, and right, where the bottom has a leaf branch with florals on either side.  Shield at top has a banner reading "ZAZPIAK BAT" a heraldic reference to the Basque coat of arms consisting of the seven regional provinces.
Border
, late 17th–early 18th century
linen Technique: needle lace

Border with a very fine floral scroll and raised details.
Venetian Fishing Boats
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on grey paper
Drawing

Eight sketches, upper half of small boats, each with one sail. Two sketches, below, of several boats. Bottom, large boats with a church of Venice beyond, left.
Border
, 1800–1820
Block-printed on handmade paper

Three small clusters of leaves and buds linked by a stylized stem alternating with one large lily-like flower.

H# 575