biglam/cooper-hewitt-alt-text huggingface dataset:
Drawing
Felice Giani, Italian, 1758–1823, About 1815
Pen and brown ink on cream laid paper

Obverse, a/a shepherd writes ''ANGELICA''/ upon a rock aided by Minerva, who very scarcely veiled wears a helmet and holds a horn of a lyre standing beside her. Both figures are seated and turned backwards. Reverse: centre; two sketches for oblong paintings; Venus tries to hold Adonis back from the hunt, at left, Diana watches the sleeping Endymion, at right. Beneath: a part of a sketch, Leda in love with the swan at left. Galatea riding over the sea, in the center. Europa upon the bull, at right. Bottom: upper part of an octagonal sketch: a girl pouring wine into a bowl.
Design for brooch with round diamond
, 16th century
Pencil, pen, brush, sepia. Paper
Drawing

Horizontal rectangle. An oval escutcheon with on top a round diamond, with a rosette of rays. Scrollwork, from which hang two chains with three beads each and a round diamond. The big oval diamond in the center is framed by two female half-figures and a head below.
Fragment
, late 18th century
linen Technique: bobbin lace (Valenciennes ground)

Fragment of Valenciennes lace has a widely swinging serpentine of alternating leaf and five-petal blossom. Border added later. Round mesh.
Fragment
, 15th century
silk Technique: two integrated structures; 3&1 twill and plain weave.

Border fragment from a large panel. Field of interlaced motifs and band of Islamic script. Script reads: "Everlasting glory and ... [illegible]" and "Beatitude."
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation.

Candelabra motif in offset rows in deep mauve on natural.
Tile
, 18th century
Tin-enamelled earthenware

Square tile with cobalt blue figure of mounted lancer charging toward the left, enclosed in an octofoil rosette reserved in white on a ground of stippled manganese violet. Heart shape reserves at the corner.
Yellow, bees
Gallé, late 19th–early 20th century
glass
vase

Ovoid footed vase with honey-colored depiction of honeycomb pattern and bees. Rim with overflowing "honey".
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Border fragment with a ribbon-like scrolling vine pattern; round mesh.
One Light House 331 - No. 18
Alice Cordelia Morse, American, 1863–1961, late 19th century
Graphite on beige illustration board
Drawing

Blank beige illustration board with remnants of small areas of adhesive.  Ruled lines at bottom with title.
Design for Massive Oak Sideboard
A.N. Davenport Co., October 1900
Graphite on cream tracing paper
Drawing

Massive rectangular sideboard on low platform; niche topped by 2 drawers center front is flanked by 2 drawers decorated with rectangular escutcheons; oblong top shelf with concave cut-out at center front supported by raised backsplash and 4 columns.
Designs for Fountains; Verso: Blotter for a Black Crayon Drawing, Upper Part of a Design for a Pavilion Elevation
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash, black ink on off-white laid paper, lined; verso: black crayon
Drawing

Recto (-1809): Top left: a column with a figure on top rises between seated figures from a pavillion from which pedestals protrude radially. Upon the pedestals stand the figures of animals. Left center: a rostral column rises between figures from which water pours on top of a rock. A woman with a cross stands upon it. Right center: a tower stands in the center of a basin into which water pours from the pedestals of two statues. The stories are pavilion-like. Toward the top, they diminish in diameter and height. Right: a column with a figure rises from a tower-like pavilion of two stories. The left side of the ground floor is not shown. Bottom: two circular pavilions with statues standing in their centers. The left one with a cross. In the right design, water pours from two figures flanking the pavilion at the rim of the basin. Colored background. Verso (-18180): The base of the dome is decorated with festoons.
Cuff band
, 19th century
wool on linen foundation Technique: embroidered with deflected element work

Red woven linen cuff embroidered with deflected wool elements forming three interconnecting diamonds.
Frieze
Pittsburg W.P. Co., 1896 – 1915, 1905–1915
Machine-printed paper

Printed on mottled red ground, large and small medallions alternating. Printed in dark red and black. The background on the lower half of the paper is printed green.
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) between the scenes of God dividing light from darkness and of God creating the Earth, Sun, and Moon, on the ceiling of the Sistine Chapel, painted by Michelangelo.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Art nouveau design with bouquets containing three stylized tulips or poppies with whiplash curve foliage. A secondary pattern of stylized tan flowers forms a circular shape around each of the bouquets. Printed in red, green, and tan on a strie background.
Vase
, 9th-10th century
Free-blown glass

Vessel of bulbous form with flared neck. Light Green glass; iridized blue cast
Seascape (Recto); Study of Rain Clouds (Verso)
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Recto: choppy sea flat across horizon, light sky, unfinished foreground; Verso: rough sketch, impressions of light in sky above sea.
Textile
Mainville & Fils, 1775–85
cotton Technique: block printed, with yellow and blue applied by brush, on plain weave foundation

Gnarled branch with strange, exotic fruits, leaves, flowers and birds in multiple colors on a white ground. The background is covered with 'rice grains' in red picotage.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Angular designs representing bouquets of flowers above, below are flowers linked by open zig zag lozenge. In between is a taller bouquet with same open zig zag lozenge connecting them. Above these flowers is an architectural drip molding motif framing the tops of the flowers. Vague broken stripes that gradually get darker as they go down, behind, oval shapes connected by strips on a dark brown field on bottom. Printed in light brown, dark brown, gold gilt, and pale pink.
Sidewall
Cory-Heller Company, 1905–1915
Machine-printed paper, textured

Foliate medallions having a striped fill, each containing a rose and rose bud, connected to adjoining medallions by foliate scrolls and bellflower swags. Printed in green, metallic gold and brown on light yellow or tan ground.
Nôtre Dame de Paris, from La vie de château
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Two women on a yellow couch, left, and three men, right, listen to a young man reading at a table, center. Title, artists' names, and date below.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

Aesthetic movement-inspired frieze features a horizontal repeat of highly stylized, geometric floral elements.  The top edge of the panel is decorated with thin lines and a beaded border. An area of beige background extends downward from the top edge, ending with a sort of "cut cardwork" border. Extending up from the bottom edge of the panel is an area of dark red, with thin vertical stripes, which interlocks with the beige border. A stripe of dark blue with a pattern of geometric whit shapes runs along the bottom edge of the panel. An allover grid pattern made of tiny, wiggly lines adds texture. This pattern was printed in shades of red, yellow, blue, green and brown on a beige ground.
Sidewall
Wm. Campbell Wall Paper Company, 1872, 1885–90
Machine-printed paper, embossed

Gold and silver foliate arabesque on dark blue ground. Straight across match.
Textile
, 1850–1900
cotton Technique: e-gasuri (warp and weft ikat) on plain weave

Narrow vertical panel with a design of mounded pine trees (matsu) and a tortoise in weft ikat alternating with overlapping squares in warp and weft ikat.
Border
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Border with widely spaced floral sprays interspersed by openings filled with various grounds.
Souvenir ribbon
, 1901
silk Technique: jacquard woven

Black border, legend: "In Memoriam / Queen Victoria". Portrait of Queen Victoria. "BORN MAY 24, DIED JAN 22 / 1819 1901 / IN THE 64TH YEAR OF HER REIGN. AND THEY BURRIED HER, / AND THE KING LIFTED UP HIS VOICE / AND WEPT AT THE GRAVE; / AND ALL THE PEOPLE WEPT. / AND THE KING SAID UNTO HIS SERVANTS, / KNOW YE NOT / THAT THERE IS A PRINCE AND / A GREAT ONE FALLEN THIS DAY IS ISRAEL." Woven crown inside a sun. Ends folded to make a point. Black weft and white warp.
Fork with Ornate Silver Handle (Part of Traveling Cutlery Set)
, ca. 1700
steel, gold plated, silver
knife

1985-103-100-a: Wooden sheath, oval in section, covered with silve...;     1985-103-100-b: Two long straight tines with rounded shoulders. Fa...;     1985-103-100-c: Long blade with straight upper edge, the lower edg...
Jar
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, 1725–1750
soft paste porcelain
jar

A) Circular container on small foot.
B) Domed cover with narrow everted rim.
C decorated with applied leaves forming four swags, bows and roses. Large rose finial. No marks.
Textile
, 18th century
silk, metallic thread Technique: supplementary weft patterned 3/1 plain weave

Fragment with a repeating design of palmettes on a gold-colored ground. Palmettes in salmon pink, blue, green, and white. Traces of metallic thread.
Sash
, late 18th century
linen, silk

Sash of sky-blue ribbon patterned with a broad central band with a symmetrical repeat of stylized heart and arabesque forms in blue, coral, and cream warp floats. Hanging decorations are formed from knots and flowers of silk floss and basket-like forms of bobbin lace and leno weave of silk and linen cord.
Trimming
, 18th century
silk, paper or linen backing Technique: embroidered

Fragment of an embroidered and scalloped trimming. Yellow satin cut into scallops is edged with green and gold cord and embroidered in the center with a four petal flower head pattern in orange and blue silk thread.
Fragment
, late 18th century
cotton Technique: block printed (two reds, black) and blue applied by brush on plain weave

Widely spread clusters of roses surrounded by tiny blue leaves on a black background.
Sketches at South Riverside Museum
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper; verso: green paper
Drawing

Profile of marble bust, upper right. Sketches of Italian capitals, upper left and center. Brown jugs bottom.
Sidewall
, ca. 1885
Fiber composition impregnated with tung oil, embossed and painted

Imitation leather. Vertical rectangle. Approximately twenty emblems of different shapes arranged at random. Several of the motifs occur twice with either coloring or direction changed. Geometrical, foliate and mask designs are included. Horizontal wave background. The later is greenish-brown over which black has been washed.
The Fair Toxophilites (Proof)
John Leech, English, 1817 - 1864, 1865
Chromolithograph on paper, mounted on heavy paper
Chromolithograph

An archery range, target at left, tent at right. People around them. Foreground, girl with bow and arrows runs to a seated older woman, while another girl looks on. Title and dialogue, artists' and publisher's names and date below.
Tile
, late 16th–early 17th century
Tin-glazed earthenware, underglaze decoration

Square in shape, painted with an 8-pointed blossom in the center, from which radiate stylized floral arabesques and blossoms.
Cover
, 17th century
silk on linen Technique: counted embroidery stitches using silk: double running, back, overcast long-armed cross on plain weave

Square cover in a diamond lattice pattern enclosing geometric flowers in red, green, blue and yellow silk on a linen ground.
Frieze
, 1905–1915
Machine-printed paper, ungrounded

On a tan ground, abstract "adobe"-like stepped shapes in blue and dark gray with crosses, bordered by crosses on a gray ground. Printed two borders across the width.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis framework composed of scolling and curling lines, quatrefoil motif fills each intersection. Printed in blue, green, and gray mica on tan or off-white ground.
Sidewall
, 1875–1900
Block-printed paper, embossed

Large-scale scrolling acanthus leaves forming central vertical design. Printed in off-white on ocher ground.
View of Lucerne
Arnold William Brunner, American, 1857–1925, 1879
Graphite on paper
Drawing

View from lake shore to Chateau; pier, right; mountain beyond.
Sketches of Wall Patterns – Blois
Arnold William Brunner, American, 1857–1925, 1883
Graphite, brush and watercolor on paper
Drawing

Complete element of wall pattern, left; sections, right.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Small round yellow motif having quilted or tufted effect surrounded by circle of vining foliage. Printed on background patterned with very small grid or tufting.
Salesman's sample
, late 18th–early 19th century
silk Technique: embroidered on compound weave

Pale blue ribbed silk ground embroidered with multicolored floral sprays.
Knife with Mother-of-Pearl Handle
, late 19th century
mother-of-pearl, silver
knife

Rounded blade tapering to a point. Banded silver ferruleTapering mother-of-pearl handle with stepped sides, ending in rounded terminal decorated with carved shell motif on both converse and reverse sides.
Sampler
, 1851
silk embroidery on cotton foundation Technique: embroidered in buttonhole, cross, chain, satin, knot, hollie point, and running stitches on plain weave foundation with withdrawn element work and needle lace.

White work square with decorative hemstitching.  Four inset squares of hollie point and eight placket cuts along the edges.  In the center initials and date.
Sampler
Elmira Cressey, American, b. 1812, ca. 1826
silk embroidery on linen foundation Technique: embroidered in cross, chain, satin, eye, stem and speckling stitches on plain weave foundation; counted and uncounted stitches

The field contains three alphabets, two ampersands, two sets of numerals and an inscription: 
Let virtue be a guide to thee Elmira Cressey aged 14 Born May 23 1812

With a wide border of floral sprigs on three sides, and at the bottom a scene with a house, a figure and a basket of fruit.
Preserve Tureen with Stand, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1821–1833
porcelain (feldspar), vitreous enamel, gold
tureen and stand

A) Dish on foot, with two scrolled handles. B) Slightly domed lid with foliate symmetrical scroll handle, reserve in edge for ladle. C) Circular tray, with edge extended to form two handles, each pierced by two holes. Decoration same as on 1959-155-1.
Design for a Porcelain Stove
, ca. 1750
Pen and gray ink, brush and wash on paper
Drawing

Porcelain stove seen frontally and from the side. The object is conceived as a tower, with onion-shaped top, surmounted by a basket, and rests on short legs. Scale and ground plan below.
Resurrection of Christ
, ca. 1530
Enamel on copper
Plaque with frame

Christ emerging from the tomb in a red garb draped over one shoulder, with one hand raised, his body with wounds, one guard awakening to see him rise, the other asleep, with blue mountains and green trees in the background.
Juno Seated on a Cloud
Anton Raphael Mengs, Germany, active in Italy 1728 - 1779, 1750-1770
Graphite on white paper
Drawing

Seated on a cloud bank the figure of Juno is seen frontally, in her right hanad she holds a shield, and with her left hand brandishes a sword.
Leafy Vine
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Stencil motifs of entangled vines with sprouting leaves was a popular summer design. Silk threads are added to support the stencil structure.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace pillow border, floral scrolls; mid-18th century Flemish
Sample book pages
, 1900–1920
cardboard, linen, silk, metallic Technique: Machine made net and lace. See notes for additional information.

Two hundred and eight samples of machine-made openwork in imitation of bobbin laces and mounted on boards.  All are floral patterns plus a few of an early 1920's geometric style. Several of the curtain laces made on the Levers machine.
Jungle Cut Outs
The Schmitz-Horning Co., Cleveland, Ohio, 1905 - 1960, 1906
Chromolithograph on paper
Decorative panel

Children's frieze, containing various animals, including dog, sheep, goat, pelican, rhinoceros and leopard. Printed in colors on a tan ground. The paper can be installed as is forming a frieze or the animals can be cut out and pasted on the wall or pinned to a fabric wallcovering.
Design for a carved wood chest
Izabel M. Coles, American, 1890 - 1964, ca. 1909
Pencil and watercolor on paper
Drawing

Design for a carved wood chest with metal fittings. Front elevation, side elevation, top.
Le Grand Seigneur (The Nobleman), plate 17 from the series Caravanne du Sultan à la Mecque (The Sultan's Caravan to Mecca)
Joseph Marie Vien, French, 1716–1809, 1748
Etching on cream laid paper
Print

Bearded man in Turkish costume stands on porch with railing and landscape beyond, facing slightly left. His right hand rests at hip; in his left, he holds staff, with crescent moon on top. Crescent moon and feathers decorate his high stiff hat, and loops of pearl, his belt.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Abstract geometric flowers and vines of varying heights,in gold on a gray ground, create a swag effect. Two borders printed across the width.
Woman's Leg
, late 19th century
Brass
Matchsafe

In the form of a woman's leg, from mid thigh down to the foot, knee slightly bent. Circular lid with thumb catch attached at thigh end of box, hinged on underside. Striker on top of lid.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Red carnation-like flowers on stems creating appearance of floral swag.  Printed between the peaks are floral motifs printed in silhouette. Printed in red, green, shades of tan on off-white ground which shades from lighter at the top to darker at the bottom.
Sketchbook Page: Spiderwort
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of spiderwort, labeled above.
Pillow for making bobbin lace
, 19th century
Technique: patterns and tools

Bobbin lace making pillow with pattern, bobbins and lace partially worked.
Sidewall
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper, liquid mica

Foliate stripe. Stylized foliate medallion on stripe. Medallions alternate with small floral motif. Printed in metallic green and gold on copper-color ground.
Decorative Plaque Depicting the Last Supper
, late 17th–early 18th century
silver
decorative plaque

Vertical plaque with three registers. At center, the Last Supper at a round table with Christ in the middle; above, sky with two flying angels in the clouds; below, two cherubim holding garland.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Design scheme is like 1938-88-833, above a disk, in the center a knot, three drops below. Ribbon at center enriched with two flower stems and a blossom at center.
San José de Lapas Church with Botanical Sketches, Colombia
Frederic Edwin Church, American, 1826–1900, 1853
Graphite on gray laid paper
Drawing

Architecture, landscape, and botanical sketches showing views of trees and a church in Colombia, possibly along the Magdalena River. At upper left, a small church with a thatched roof and a small tower, known to the artist as Carapata Church or San José de Lapas, is shown obliquely. At upper right, three palm fronds and a tall palm tree are visible. Along the lower margin, a view--likely from a river--of a heavily wooded shoreline is included.
Buttons
, 1800–1850
steel

circular, flat buttons with bevelled edges; in the center, a facetted steel boss, surrounded by a ring of roses, in steel, against a yellow ground.

Component -a is on card 48
Component -e is on Cooper Union Exhibition card 5
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a base similar to that in 1938-88-1301. Upon it is a plinth carrying a high pedestal and in front of it a base, with a festoon at the front and above a variation of the figure in 1938-88-1305, with an angel kneeling beside her. The upper parts of the group are in front of a base standing above the entablature. Upon it is a pedestal, with a band around the front panel and with an urn with a cover on top. Hope, with her right hand upon the anchor, and another allegory are leaning against the pedestal.
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

At left is a lion chimera with a ring, at right a lion's leg with an urn with two handles on top. They are connected by a molding. Usual background.
Mountain Landscape, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Graphite on light gray wove paper
Drawing

Landscape sketch showing a view of mountainous terrain in Jamaica. In the foreground at right, the straw roof of thatched hut is shown beside vegetation, including a plantain tree. Hillsides at left and right descends toward flatter, wooded terrain in the middle distance at center. In the background, a rugged mountain range stretches across the composition, forming an undulating horizon.
Arrival of Ships in America
, ca. 1750
Brush and watercolor on paper, mounted
Print

In the foreground are white men and women and American Indians smoking the peace pipe, carrying bundles, and embarking from a small boat. Larger ships are in the harbour in the middle ground, and in the background is a fortress. Palm and pine trees. Bottom center: "l'Arrivé des Vaisseaux aux Isles de l'Amerique".
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, mascarons (masks), fantastical animals, man's head with a helmet, hippocampus (seahorses), rosettes, flowers, scrolling leaves (rinceaux), foliate scrolls, and a scene with two fighting horsemen on the sideplate of the central flintlock. The plate is signed and numbered.
Study for "Cape Trinity, Saguenay River"
Winslow Homer, American, 1836–1910, ca. 1904
Graphite on paper
Drawing

Sketch of a river as it bends around steep cliffs with a faint indication of a boat and mountains in the distance.
Garden Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two designs for gardens, each with a central, round fountain with a classicizing statue. The plate is numbered but not signed.
Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Ornament designs with grotesque motifs, featuring scrolling foliage, masks, birds, mythological creatures and figures, baskets of fruit, flowers, fleurons, leaves, and a roundel profile portrait. A wider design to the left with a narrow one to the right, divided by a double line. The plate is numbered and signed.