biglam/cooper-hewitt-alt-text huggingface dataset:
Study for "The State," "The Reign of the Law," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898
Graphite on laid paper
Drawing

A female figure is seated holding a folio in an upright position. The paper is squared for transferring the image.
Brisé fan
, mid- 19th century
Lacquered and gilded wood sticks

Brisé fan of black lacquered wood with gilt decoration. On the obverse, an island with houses and a pagoda. On the reverse, islands with houses and a small bridge.
Design for a stage backdrop with alternative suggestions
Vincenzo Scamozzi, Italian, 1552–1616, ca. 1580
Pen and bistre ink on buff wove paper
Drawing

Three bays. Arched gateway with an aedicula frame in the center. Laterally are similar lower gateways with rows of niches. Alternative suggestions are made for details
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite on tracing paper mounted to board
Drawing

Sketch of a female figure leaning over a pedestal. Most of the body is shown without the head, the right forearm, the feet.
Elévation et Profil d'un Secrétaire à Cylindre et Pieds de Biche
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and profile of a roll top secretary desk with curved legs. The desk is decorated with ornament motifs including wave pattern, acanthus leaves, and rosettes. The plate is signed and numbered.
Title Page
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Title page for a series of designs for ornamental borders. The title is lettered below six horizontal designs for borders featuring repeating floral, leaf and grape patters, bead courses, and floral fretwork. The plate is numbered and signed.
Industry and Commerce (Design for Pediment)
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black crayon, white chalk on brown cardboard
Drawing

Athena stands in the center, flanked by seated figures. At left, a rider upon a winged horse; at right, two horses of a chariot. On the lateral corners, standing women with scrolls and groups of two seated and one kneeling figure. The seated figures represent two women studying from a book, at left; a woman and Mercurius, at right. The pediment supportedby two sketched capitols.
Designs for the Letters J, I, K, L
Jean Baptiste Piauger, French, active 1760s, 1767
Etching and engraving on laid paper
Print

A plate of six designs for the letters ‘J','I', ‘K' and ‘L', from a series of decorative letters, published in Pouget's ‘Dictionnaire des chifres […]'. The plate features six ornamental inhabited letter designs, two per row, featuring putti, mythological characters, Leda and the swan landscapes, clouds, a tower, and tablets, with rococo ornament, acanthus leaves, shell, scrolling foliate, and friezes. The plate is numbered.
Design for the Embroidery Field of a Man's Coat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Four turnips and an onion plant are disposed in three oblique rows.
The Decks
Mortimer L. Menpes, Australian, active London, England, 1860 – after 1915, 1880
Engraving on light brown paper
Print

A line of sailing vessels in calm water.  Beyond, between the masts, the bank and the buildings of a town.
Justice (Iustitia), plate 5 from the "Virtutum theologicarum et cardinalium"
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1575
Engraving on laid paper
Print

Bust of Justice holding scales and sword, surrounded by a scrollwork frame decorated with putti. A Latin inscription in a horizontal band below.
Elevation toward Polo Grounds, Clubhouse, Newport, Rhode Island and Golf Club
Whitney Warren Jr., American, 1864–1943, ca. 1896
Graphite, brush and watercolor on paper
Drawing

Two-story building with pointed roof, balustrades, and greenery. In front of main floor, a terrace with colonnades. Lower center, in brown ink: Polo View; Scale, one inch = 10 ft [numbers below].
Polish Horsemen
Stefano della Bella, Italian, 1610–1664, 1646–1656
Etching on paper
Print

Five horsemen in a circle.
Mt. Katahdin at Sunrise, from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Oil and graphite on paperboard
drawing

Landscape study showing a view of Mt. Katahdin at sunrise from the southeastern shore of Katahdin Lake. Generally peak, the paint application is light and the composition has a notably loose and unfinished appearance. The surface of Katahdin Lake comprises the foreground and middle distance, while a nearby shoreline--possibly with a large boulder--is visible to the left. In the distance at center, the long ridge of the Katahdin massif is bathed in the pink and red light of the rising sun. The pyramidal peaks of Baxter and Pamola are visible at left, Hamlin Ridge at center, and Howes Peaks at right. At far right, the lower slopes of Turner Mountain are visible, while the rest of the mountain is cut out of frame.
Standing Hunter
, mid-19th century
Brush and watercolor on rice paper
Painting

A standing man, facing one-quarter left, wearing a small black hat trimmed with a peacock feather, and carrying bows and arrow.s
Mirror
, 19th century
silver, glass
mirror

Scalloped oval silver frame engraved with radiating lines holding mirror glass. Reverse repoussé with floral and foliate scroll border and flowers within reserves radiating from center. Separate piece of oval repoussé silver at center. Suspension ring on one long side.
Study: The left hand of a woman holding a sheet of paper
, early 18th century
Black chalk on rough brown paper
Drawing

Horizontal composition of a woman's left hand turned toward the left with the thumb above. The farther part of the hand is hidden by the sheet of paper she is holding.
Moonlight over the Bernese Alps, Belalp, Switzerland
Frederic Edwin Church, American, 1826–1900, August 28-31, 1868
Graphite and white gouache on tan laid paper
drawing

Loose landscape sketch showing a view of the Bernese Alps and the Rhône Valley of Switzerland at night form the hamlet of Belalp. Below, a dark foreground gentle arches across the composition while the silhouettes of steep mountainsides at left and right frame a view of a distant, steep peak at center. Above, the moon illuminates a bank of clouds in the night sky.
Decorative panel
, 1810–20
Block-printed on handmade paper

Horizontal rectangle. Two figures of Bacchantes, standing side by side, each holding a cup and supported by a tree trunk. Printed in white on gray ground.
Design for Two Snuffboxes, Three Watchcase Lids, and Three Wall Brackets
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for wall brackets, snuff boxes and watchcase lids. The items are decorated with ornament motifs from antiquity and of scrolls and shells. This is the second state of 1921-6-285-94.
Ornament Designs for use on Cups and Saucers
Masson, French, active late 17th and early 18th century, late 17th–early 18th century
Etching and engraving on paper
Print

Designs for ornament to be engraved on cups and saucers along with the design in profile of a coffee goblet (cup) and deep saucer. The ornament features borders of repeated patterns, scrolling leaves, diaper patterns, scrolling acanthus leaves, fleurons, strapwork, rosettes, heraldry (coat of arms), and cartouches. The designs are identified with lettered inscriptions. The plate includes the publisher's address below.
Figure
Benjamin Franklin, American, 1706 - 1790, mid- 19th century
Molded, glazed and gilt earthenware

Statuette of Benjamin Franklin standing before a tree-stump, holding a tricorne hat against his left hip, a document in his right hand. Clothing is white with details in gold; a red scarf at his neck. A round base with the gilded inscription: The old English Gentleman
Fragment
, 15th century
silk Technique: two interconnected plain weave structures (lampas)

Fragment of woven silk with alternating horizontal bands of red and blue, with narrower guard stripes between. The red bands contain patterns of eight-pointed stars and flowers; the blue bands contain lines of Kufic script, translated as "Glory to our master the Sultan." In red, blue, yellow, green, and white.
MÉDALLION POUR L’ANNÉE JUBILAIRE, OU CINQUANTIÈME DU RÈGNE DE LOUIS XV.
Saint-Aubin Gabriel de, French, 1724 – 1780, 1766
Etching and engraving on paper
Print

An oval medallion with an allegorical vignette celebrating the 50th year of the French king Louis XV's reign, accompanied by a detailed description lettered below. The medallion illustrates an oval profile portrait of king Louis XV on a plinth, supported by the mythological figure of Hercules, with a lyre, globe, and arms at his feet. To the left, the female personification of France looks at the portrait adoringly. A temple in the background. The oval is framed by a festoon of flowers, leaves, a crown, a cockerel, a sun, and two signs of the zodiac. The plate is numbered and signed.
Vase
, 1871
ivory

Beaker with silver-gilt (?) interior, base and 3 ball feet; each containing scene of castle. Inscribed under base ''Ph Perron München 1871'' | Beaker with silver-gilt (?) interior, base and 3 ball feet; ivory exterior elaborately carved with two medallions each containing scene of castle. Inscribed under base: ''Ph. Perron München 1871''
FESTE BACCHIQUE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of three revelers--a man holding a tambourine, a woman dancing, and a man with grape bunches in his hat and a wine glass in his hand--and a man on a donkey underneath a trellis in a landscape, and in front of a term of the wine god Bacchus (Dionysus in Greek). The scene is set within a field of arabesque ornamentation, and includes motifs such as scrolls, birds, grape vines, ivy, garland, baskets of grapes, and meanders. Below the revelers, there is a cartouche with a landscape scene and figures herding cattle over a bridge. The plate is signed.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Green warp with light orange weft forming a pattern in columns.
Idole de la Déesse KI MÂO SÁO dans le Royaume de Mang au pays des Laos
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Bound print

Chinoiserie scene of a woman wearing exoticized Chinese costume holding an open parasol and a whisk in her hands. She is seated on a curving tree trunk between two men who bow to her, bending on draped rugs. The plate is signed.
A Man's Head, Large Front Face
Francesco Bartolozzi, Italian, active England, 1727–1815, 1796
Stipple engraving on brown paper
Print

The man's forehead creased, his mouth turned down. A thick neck.
LES JARDINS DE BACHUS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Scene of an altar with a radiant bunch of grapes in the middle of a landscape, in which figures can be seen dancing, drinking wine, and playing the tambourine. The vignette is framed by ornamentation, with motifs including masks of satyrs and Bacchus, garlands, pinecones, terms, vines, scrolling acanthus leaves, and a lower central cartouche help up by a goat and a panther. The plate is signed.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color on rust color
b. lighter rust color on light rust color
Designs for Paneling, Friezes, and Overdoors
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Designs for vertical and horizontal decorative paneling (boiseries) featuring arabesque motifs, including female figures, putti, scrolling leaves, festoons of flowers, leaves, vases, cornucopia, birds, nets, fountains, and fruit. The vertical panels are labelled and represent gardening, hunting, and fishing with figures and related attributes. The plate is signed, numbered, and dated.
The Wedding Procession: Couple walking left, woman wearing a bonnet
Hans Sebald Beham, German, 1500–1550, ca. 1545
Engraving on laid paper
Print

Vertical rectangle. A bare-headed peasant, gestures with his left hand and with his right grasps the garment of the woman who walks beside him. They walk to left.
Border Tile
, possibly 16th century
Glazed earthenware

Horizontal border tile with relief of lioness attacking antelope; above, conventionalized tulip border. Turquoise glaze with gold iridescence.
Textile
, 17th century
silk, metallic thread Technique: plain compound satin with supplementary weft

Repeats of a flowering plant in grey on a blue ground.
Fragment
, 17th century
silk, linen Technique: two integrated fabric structures, 4&1 satin plus 2/1 twill

Urn with framing foliate broad bands in yellow, green and white.
Collars
, 17th century
silk, metallic thread, linen Technique: embroidered

Two apparels (separate collars worn by a priest over the neck of a vestment). Red velvet with applied design in gold cloth outlined with couched gold thread, and white silk with subtle decoration in blue thread. Central design of conventionalized flower with wide leaves ending in long tendrils of gold thread. Flower crossed by a band of white silk with perpendicular blue embroidered lines, and two leaves in white silk couched in blue thread. Backed with a coarse natural linen. Apparels are incomplete and would have been lined with linen or silk and fastened with cords and tassels which are missing.
Fragment
, 800–1000
cotton warp, wool weft Technique: tapestry woven, single interlock; subtle use of non-horizontal wefts Label: cotton warp, wool weft, single interlock tapestry with some non-horizontal wefts

Fragment of a mantle with two wide bands of multi-color desigh of winged spear-bearer figure, set off by narrower bands of dark red. Design in shades of red, brown, green, blue and light yellow.
Study for a Mural or Panel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

A garden, with a large fountain, right. Groups of figures center and lower left. Wall and trees beyond. Below, single figures and notes on colors.
Textile
, 18th century
linen Technique: needle lace

Small irregular fragment of Argentan lace from Cooper Union Lace Study Card. Square-dotted ground with a portion of a floral design.
Textile
, 18th century
silk Technique: plain weave with supplementary warp floats forming ribbed surface, extra weft floats and brocaded chenille

Sixteen pieces of brocaded silk: large naturistic bunch of flowers arranged in staggered rows - two per row - in pink, red, yellow-green and ochre chenille on a green-blue "ribbed" backround. Loomed width about 20 1/2 inches.
Fragment
, 17th century
silk Technique: plain weave with supplementary warp floats

Detached leaf motifs in orange on green.
Fragment
, 19th century
silk Technique: 8-harness satin damask

Large scale floral bouquet tied with a ribbon in orange silk damask.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

A motif composed of a windmill and other buildings, and a banderole.
Study of a Plant, West 86th Street
Walter Clark, American, 1848–1917, November 1884
Graphite on paper
Album page

Study of a low plant with big leaves.
Button
, 1870–1914
Brass

Circular button showing design of anchor set within a curve which ends in acanthus leaves - on reverse, "T. W & W Paris"; double shank - button used by Colonial Infantry.

On card H
Dressing stand with mirror
, ca. 1710
Lacquered wood, glass

Black and gold lacquered bureau-shaped dressing stand (a/i) on six bun feet, with a long, shaped and carved drawer below a slanted drop-front enclosing an interior fitted with drawers and compartments; two black, turned wood upright supports (j,k) fit into top of stand to hold arched and shaped mirror within a conforming black and gold lacquered frame (l).
Design for Serving Table with Two Drawers and Backsplash
A.N. Davenport Co., 1900–05
Graphite on thin cream tracing paper
Drawing

Rectangular body with 2 drawers at front and raised on 4 straight tapering legs; conforming lower shelf attached half way up legs from floor level; backsplash.
German green glass series
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1890
Mouth-blown green glass
Goblet with lid

Mouth-blown green glass with glass applications. Tall tapered goblet with wide base and delicate finial.
staircase model
, ca. 1820–40
pear (wood), walnut

Spiral staircase model with curved stringboards, on a circular base on bun feet.  This style was popularized by the important master of compagnonnage Agricole Perdiguier.
Border
, 1880–90
Machine-printed paper

Large-scale foliage grows up from vine which runs along bottom edge. Printed in ahdes of green and brown on striped green background.
Dessert Fork with Green-Stained Ivory Handle
, late 18th century
green-stained ivory, steel, silver
fork

Part of a set of knives and forks (1959-56-1-a/f). Fork (e): tapering, stained green ivory handle with beaded silver cap terminal and ferrule with three prong steel tines.
Crocodile Hunt in Tentyra, in Egypt, plate 30 from the Venationes Ferarum, Avium, Piscium series
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or after
Black ink on paper
Print

Horizontal rectangle. The jaws of the crocodiles are pried open and a stick inserted to render them helpless while they are clubbed to death. At lower right, in the foreground, one man sits astride a crocodile, holding the stick in place, while two others prepare to use their clubs. Near lower right: "Ioan. Stradanus / invent..Carolus de / Mallery Sculp.; Phls Galle excud." Below: "TENTIRA IN AEGYPTO..."
Fragment
, 17th–18th century
silk, metallic thread Technique: compound weave with continuous supplementary weft

Flowers and incomplete ogival form on a dark red ground.
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

On light green ground, an outlined treillage motif in light green-beige with four-pointed motifs composed of green leaves outlined in red and a central crescent in gold.
Sucket fork
, ca. 1840–45
silver, wood

Long two tined fork, tines cast with stem as stylized crustacean. Twisted stem. Foliate knop at juncture with handle. Octagonal wood handle, silver cap and terminal cap. Finial cast as seated dog on a battlement.
Fragment
, early 18th century
cotton Technique: embroidery stitches include satin, running, knot, overcasting, couching on plain weave foundation; quilting stuffed from the back (trapunto); in several areas stitches are combined in deflected element work

Fragment, possibly from a quilted petticoat. Elaborate floral sprays in white on white.
Sidewall - fragment
, 1840–80
Block-printed

Bouquet of flowers in basket or urn, with acanthus scrolls supporting a foliate swag beneath.  Printed in green, brown and black on tan ground.
Crown frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed and embossed

Garland of roses and small rinceaux forming a heartshape with rose motif set in its top. Small cinquefoils are placed inside the heartshape. On each side is a large rose placed in a bouquet. A floral garland is running along the border. Printed in shades of red, green, gold mica, pale blue and off-white.
Fragment
, 18th century
wool embroidery on cotton foundation Technique: embroidered in chain stitch (needle-made), knots and satin stitch on a 2/2 twill foundation

Piece of crewel embroidery colored yarns with scattered motifs in a grid arrangement.  The motifs do not repeat in a regular manner but alternate a florral motif [8 different ones, sometmes facing in different directions] with an animal or bird motif [8 different ones]   Different colors are used when a motif is repeated.
Sketchbook Page: Standing Nude
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on laid paper
Sketchbook folio

Standing nude female figure, slightly turned with hands to chest, shown from right side.
Cup and Saucer, from a Tea Service
Spode Ceramic Works, English, established 1776, 19th century
porcelain, vitreous enamel, gold
cup and saucer

1992-5-54-a,b: Cup has handle with raised spur. Exterior decorate...
Frontispiece, with Dedication to Robert Adam, in Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778, 1762
Etching with engraving, original covers of blue board on cream laid paper
Book

Frontispiece depicts large stone slab that has been inscribed with book's title. Below, ruined column, upon which is a dedication inscription, and its capital.
Shawl
, 19th century
wool Technique: 2/2 (S-spun) twill tapestry, embroidery Label: wool twill tapestry with embroidery

Taupe center field that radiates in pairs toward the four corners.  Swirling pattern in various shades of red, blue, green, yellow, white, and black on red ground.  Most notably in the pattern are four pairs of Paisley shapes on the two diagonal axes.  Small floral motifs decorate the shapes and fill the spaces in between.
Borders
, ca. 1850
Machine-printed on ingrain paper

Partial length. Design of beaded string connecting faceted studs, in gray, black and white on royal blue, bordered on both sides by white and black lines. "Oatmeal" paper shows between decorated strips.
King Charles on the Way to His Execution
Frank Craig, English, 1874–1918, 1899
Brush and gouache on illustration board
Drawing

Illustration showing King Charles on the way to his execution. The king stands erect, center.  The crowd in the background scowls and jeers.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a leaf or a tree.
Window shade
, 1875–1900
Block-printed

Two stylized plant motifs alternated, each having yellow branches with black leaves, across one end of shade. Each contains a large red circle ornament in the central area.  The plant motifs are printed against a gold background containing fan-like motifs. Printed on a green shade.
Pleated fan
, late 19th century
Silk machine-made lace, silk gauze painted with gouache, tortoise shell sticks with metallic foil and steel piqués, gilt metal bail

Pleated fan. Black machine-made lace leaf with appliquéd gauze painted with blue gouache showing two couples and a musician. Gilded tortoise shell sticks with inlaid steel piqués. Gilt metal bail.
Fork
, early 17th century
ivory, steel

1985-103-149-a: Elaborately carved ivory sheath for two implements...;     1985-103-149-b: Straight sided blade with round top, square plain ...;     1985-103-149-c: Fork has three curved tines, curved shoulders. Pla...
Edging
, 19th century
silk Technique: bobbin lace with polychrome flower

Lace band with floss flowers sewn at intervals. Loosely worked undyed silk bobbin lace with a scalloped edge dotted with single flowers and a few small knotted tassels of polychrome silk floss sewn at regular intervals.
Textile
, mid-18th century
crewel wool on linen Technique: embroidered on plain weave

Cream-colored linen, chain stitch embroidered in multicolor wools. Symmetrical pattern of stiff flower sprays, alternating with small sprays; scalloped edge embroidered in vine pattern in blue and green.
Cotton Prints Samples
, 1845–60
cardboard, paper, and cotton Technique: samples printed on plain weave
Sample book

Blue cloth bound volume of 338 samples of printed cotton. Title page has three labels pasted on it. Each pattern is numbered. Most designs form stripes, either floral or geometrical or combinations of both.
Ignudo from Sistine Chapel ceiling
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ignudo (nude figure) next to the scene of God dividing light from darkness on the ceiling of the Sistine Chapel, painted by Michelangelo.
La Marchande de Moutarde
James McNeill Whistler, American, 1834–1903, 1858
Etching on paper
Print

A young female figure leans against a narrow doorway, above which is a barred window. In a darkened interior, an old woman hovers over a table.