biglam/cooper-hewitt-alt-text huggingface dataset:
Tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Above, at left, design for a round console table with alternative suggestions, supported by lion's feet which are connected by a kind of angular panel above a connecting molding. The support at right is formed by leaves and scrolls and an eagle's neck and head. Below: a console table is supported by two oblique pillars with lion's feet, the capitals being connected by a festoon. Above the feet is a connecting base, upon which stands a pedestal with a figure. Beside is the left corner of a top supported by a panel with a bird. At right is the left side of a project: a pillar stand supon a base and supports the top. Usual background.
Decorative door boss and nail
, 16th–17th century
Wrought iron

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples. Each leaf with a high, raised boss. Round nail head on a square shank.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of the Grand Canal in Venice with La Guidecca in the background.
JARDINIERS FLEURISTES
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Bound print

A plate from a series of singerie scenes after Huet. Two monkeys wearing long coats are shown carrying a small tree growing from a box. The monkey on the left is facing the viewer, while the monkey on the right is facing left. The plate is titled, signed, and numbered.
Textile
, 17th century
silk, metal thread Technique: woven

Formal clusters of plants on a metallic ground.
Mixed Sketches, Catskill, New York
Frederic Edwin Church, American, 1826–1900, July 1844
Graphite on tan wove paper
Drawing

Mixed sketches showing four views of gaff-rigged Hudson River sloops seen obliquely or in profile at left, a plant with small blossoms at its crown at center, and at right, the outline of a thumb.
Frieze Design
Jean Le Pautre, French, 1618–1682, 1655–82
Etching on laid paper
Print

A frieze design with male and female figures battling a lion and a dragon surrounded by flying putti, scrolling leaves (rinceaux), acanthus leaves, festoon of flowers, fruit and foliate branches. A molding of leaves and ribbon below.
Panel for a fan case
, 18th century
silk, metallic yarns Technique: embroidered in knot stitches on satin weave

One side of a fan case, embroidered in polychrome silks and metal thread (principally knot stitches) in design showing a butterfly, a bird, and an animal with floral ornament. Lined.
Designs fpr Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Studies for eight chairs on a lightly washed background
Fragments
, late 19th century
linen Technique: printed on plain weave

Natural-colored stiff and coarse linen printed in red with a design of peacocks, morning glories, grape clusters, leaves, and branches.
Textile
, 1700–1750
cotton Technique: resist printed on plain weave

Fragment in two shades of blue on a white ground. Design of undulating branches with large blossoms. Very fine white dots used to enhance design. Separate border in similar design.
Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, probably May–August 1857
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a partially veiled view of the volcano known as Chimborazo in Ecuador. The middle distance comprises of rugged, brown, and barren mountainous terrain that stretches horizontally across the composition. In the background at center, the conical, snow-capped peak of Chimborazo is visible through a dense bank of low-lying clouds, which appear to be breaking up to reveal a view of the blue sky at left.
Book-Plate of the New York Society Library
Peter Rushton Maverick, American, 1755 - 1811, 1789
Engraving on paper
Print

Athena is shown in an ovoidal medallion giving a book to a kneeling Indian. Bottom: "NEW-YORK SOCIETY / LIBRARY / 1789".
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-29: Part of a set of Italian Minchiate playing cards.50
Handscreen
, mid- 18th century
Engraved paper leaf, turned wood handle

Handscreen with engraved design on paper board. Obverse: a scrolling cartouche with shepherdess doffing a tricorn hat. Reverse: scrolling cartouche with a pile of clothing and possessions in a landscape. Turned wood handle.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs including long vertical guilloches with central rosettes. The plate is numbered but not signed.
Fragment
, late 17th–early 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Narrow fragment of red cut and uncut velvet. Design (only a portion remains) of large vertically repeated group of flowers and foliage. Design in cut pile, ground in uncut pile. Details in the white satin foundation fabric.
La Route de Poissy
Favre Petitpierre, France, 1802–1818, 1815
cotton Technique: printed by engraved copper plate on plain weave
Textile

Panel of white cotton, copper plate printed in violet. Design known as "La Route de Poissey." Shows four scenes: 1) Men bowling, and on stone at side "Les Joueurs de Boules;" 2) Fat man on horseback and thin man smoking pipe. Inscription on stone "Route de Poissy" 3) Man playing bagpipe, and boy receiving money from a lady, on a stone at side "Joueur de Carnemuse;" a carriage with two men on the box and passengers inside. Drawn by a jaded horse. Inscription on stone at side "Route de St. Cloud." also on a stone appears: "Delmes."
Band
, 16th century
silk embroidery on linen foundation Technique: embroidered with deflected element work on plain weave

Natural linen band embroidered in red silk with a scrolling vine with a flower blossom enclosed in each scroll. Embroidery fills the ground, with the design reserved in natural linen.
Vase
, 17th–18th century
Enameled and glazed porcelain

"Famille verte" decoration; oviform vase depicting noblewomen on balcony washing and sewing.
Textile
, 18th–19th century
silk Technique: background fabric: plain weave with contiuous supplementary wefts Inset: 7&1 harness satin with brocaded wefts

Panel of red, yellow and white woven silk with inset panel of pale tones showing a woman with a basket of flowers. The inset panel is earlier than the background fabric. Panel was used as a wall covering. There are still traces of glue on the back.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. Red ground with red, yellow and green floral design.
b. Green ground with green, yellow,and orange floral design.
c. Pink ground with pink, yellow and green floral design.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Light green warp with red, white and green wefts.
Medallions et cartouches a l'antique
Jean-Baptiste Huët, French, 1745–1811, ca. 1800–05
cotton Technique: printed by engraved plate on plain weave foundation
Fragment

Medallions and cartouches containing a sphinx, a putti on a bull, a seated woman with an oil lamp and a seated woman holding an owl surrounded by women in classical dress, garlands and animals. In red on white.
Textile
Merrimack Manufacturing Company, American, founded 1822, 1870–80
cotton Technique: roller printed on plain weave

Brown and red narrow stripes on a tan ground.
Déclaration de la Grossesse, Plate 13 from "Monument de Costume"
Pietro Antonio Martini, Italian, 1738–1797, 1776
Engraving on paper
Print

Three figures are seen seated in a lady's boudoir. One is a lady who explains her condition to an abbé, while the other offers council. A maid peers through a half-open door.
Valance fragment
, 18th–19th century
wool Technique: woven

Valance fragment in a plaid pattern with a scalloped outline. Lined with plain green wool.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Lower portion of a cloak or cape.
Music box
, ca. 1880
Rosewood

Rectangular case inlaid with lines and, on top, a spray of leaves and flowers in colored woods. Top lifts to reveal glazed cover for cylinder and motor. Winding fitment to left, start and stop controls at right. Lithographed program lists eight tunes.
Fragment
, 17th century
silk, metallic Technique: plain weave with supplementary weft

Red ground with design on gold of an open flower and leaf.
Cuff
, 19th century
linen Technique: bobbin lace appliqué on machine-made net

Cuff with applied floral spray and border.
A View of a Town with a Bishop's Tomb
Canaletto, Italian, 1697 - 1768, 1740–1745
Etching on paper
Print

De Vesme 45214. Carrington p. 94.
Winter Hellebore
, early 19th century
Tin-glazed earthenware
Plate

Circular; border with painted decoration of vine with leaves and blossoms; center painted with four flowers and two shoots rising from earth (Eranthus hyemalis - Winter Aconite), with roots hanging below.
Medal
Herman Macneil, 1901
gilt wash on bronze (?)

Gold medal on Pan-American Exposition held at Buffalo, New York, 1901 awarded to Miss Sybil Carter for the Sybil Carter Indian Lace Association.
Fragment
, before 600 AD
cotton Technique: warp faced plain weave

Part of mile-long piece (end not reached) brought back by Columbia University expedition; found in Cahuachi hacienda, about 15 miles from town of Nazca which is about 80 miles from Paracas. From cache of cloth to be used inside Paracas mummy bundles. White cotton, bleached (?). Heavy weft: Z-piled cotton (4 slightly s-spun strands). Heavier warp: 2-plied strands (2) of S-plied Z-spun cotton.
Medallion
, 4th–5th century
S-spun, Z-twist linen. Wefts: Z-spun linen, Z-spun wool, S-spun wool. Technique: slit tapestry with supplementary weft wrapping.

Roundel depicting Herculas wearing lion skin and carrying a club with Victory in the sky. Seated figure at the lower right is incomplete.
Study of a Classical Male Head (from a plaster cast)
Leon Dabo, American, 1868–1960, 1881–92
Charcoal on paper
Drawing

Head of a young man, turned left, expression as if in anguish.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1866–70
paper and cotton

Small notebook with handwritten formulas for dyestuffs to be used for printing textiles. Contains 56 samples of printed fabric, mostly florals.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Pastel crayon on tracing paper mounted to board
Drawing

Sketch of an octagonal ceiling panel with figures in loose garments.
Mr. Herrick Teaching Wood Engraved in the Women's Art School, Cooper Union
Ada C. Thompson, ca. 1860
Engraving
Drawing

Horizontal rectangle. Sketch showing the instructor standing over his pupils who are seated near a window. Inscribed (in ink) along the side: "Emily Dyer / Mary McCready / Mrs/ Hatch teacher at the desk / One of the Founders of Y.W.C.A. / Ada C. Thompson / J. C. Hagen's niece / Mr. Herrick teaching engraving on wood." Verso: "Property of Friends - Illustration for History of School of Design for book from Alice Donlevy."
July and August
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

4 in a series of 10 plates
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Head of a woman, shown looking down to the left, viewed from slightly below.
The Fourth Foolish Virgin
Martin Schongauer, German, 1450–1491, ca. 1490
Engraving on off-white laid paper
Print

Vertical rectangle. A young woman is represented, standing, facing the spectator, her head turned to the right. She gestures with her left hand, and holds a lamp (extinguished) in her right hand. A wreath lies on the ground before her, at left. Monogram of Schongauer, lower center.
Hudson River View
Gueliema Field, ca. 1860
Pencil on paper
Drawing

Horizontal rectangle. The river is seen at a narrow point (probably in the neighborhood of Glens Falls, N.Y.), bordered by large trees. Inscribed (in ink) in hte hand of Alice Donlevy: "[scho]ol of Design - Gueglielma Field." Dated on verso by her, 1851.
Classical Figure
J. Carroll Beckwith, American, 1852–1917, ca. 1914
Pastel on paper
Drawing

Draped female figure, seated, with head resting on left hand. Right hand, on lap, holds a shell.
Fragments
, 16th–17th century
wool, linen Technique: supplementary wool pile in a linen plain weave foundation (velvet); stamped (embossed)

Tudor rose and strap motifs in green.
Project for an embroidered vertical border
, ca. 1808
Incised lines, gouache colors, glazed heavy paper
Drawing

Bunches of flowers are to alternate beside a vertical garland. A row of beads, two stripes outside at left.
French Gardens
Abraham Genoels, Flemish, 1640 - 1723, ca. 1680
Engraving on white laid paper
Print

Left foreground, a tree. Center, a rectangular pool fed by a fountain, walled in to flow into another pool and then stream over rocks in the foreground. On either side trees.  Right, a statue on a pedestal and some figures.
Sweat Protector (koyori ase-hajiki)
, 1850–60
paper Technique: 4-strand plaiting with 2-strand twists Label: Plaited paper

Vest which opens at the front; fronts connected to back by two twisted strands on each side. Hexagonal mesh of plaited recycled paper; handwriting on the paper reads as irregular black spots.
Collar
, 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Pattern of roses and leaves surrounded by a border in an open design.
Commonly called Point de Gaza.
Back handle plate for drawer handle
, ca. 1795–1810
Brass

1914-27-35-a: Oval. Repoussé decoration with American eagle and ...
Decanter and stopper
, late 19th century
glass

Ovoid body with broad shoulder and slender incurved neck, the rim with deep lip. Decorated with narrow arched panels, flat-cut, and garlands. Semi ear-shaped handle joins shoulder to rim. B/pointed, with ribbing and garlands.
Brillion Collection
Frederick Beck & Co., 1860, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze with garlands of cabbage roses, rosebuds, and leaves, supported by swags of large and small beaded strings joined by fleur-de-lys. Flowers and foliage are outlined in gold mica flakes, as are the bead swags. Bands running along top and bottom edges. Printed in mauve, red, pink, shades of green and gold mica flakes on a background that shades from tan to pale blue.
Dress silk
, 1750–75
silk Technique: plain weave with supplementary weft

Curving ribbons of white lace and sprigs of flowers on a pale blue background.
Sampler
, 1796
linen embroidery on linen foundation Technique: embroidered in cross, satin, chain, overcasting, star and knot stitches on plain weave foundation

Bands of white work vertically divided into two columns.  At lower left, crowned double-headed eagle.  At lower right, crowned heart, initials, and date.
Undulating Lattice Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Undulating lattice weave creates a lively geometric motif.
Ceiling paper
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Large floral and leaf motifs interlaced with scrolling acanthus-like motif. White, green, liquid mica, and shades of pink on a pale yellow ground. Pattern number 808.
Study of Clouds and Waves
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves coming into beach with outcropping of land in the distance at right. Well-defined, imposing clouds in the sky. Miscellaneous pen strokes in margin to right of image.
Border
Josephine Howell, 1840–80
Block printed on machine-made paper

Double width of Greek key design, printed in blue, ochre, orange and black on white ground.

H# 4
Nine of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Nine of Spades playing card from a pack of transformation playing cards. Vertically, two rows of male figures shown in outline, seven shown as altar servers, with one knight at lower left. Most wear long robes, with spades integrated into their torsos. The ninth spade appears at center, haloed on a banner carried by an altar server. The altar servers carry a chalice, an incense burner, a bible, a horn, a candle, a banner, and a crucifix.
Sidewall
, ca. 1900
Machine-printed

Horizontal strip of joined wallpaper cutting across two and one-half widths of paper showing classical ruins, gothic tracery, balustrades and shrubbery. Drop match, full repeat not shown.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating design of alternating small and large bouquets of pink and white roses hanging from a white and midnight blue trellis design upon an increasingly lighter blue background.
Headcovering
, late 18th–early 19th century
silk Technique: bobbin lace, Chantilly style

Black lace headcovering with a cap streamer at either side. Chantilly-style design showing a stylized floral pattern.
Fragment
, mid–late 18th century
silk Technique: 5-harness satin damask

Panel of red silk damask with a pattern of ribbon festoons and clusters of flowers.
Tassel
, 17th century
linen Technique: braided and knotted

Tassel of linen, braided and knotted. Single loop attached to pear-shaped center from which hang and which is covered entirely with clusters made of tight knotting.
Chairs
, 1780–90
fruitwood, wool tapestry, brass-headed nails

The chairs' frames are of carved, unpainted fruitwood.  The chairs' backs, seats, and armpads are upholstered and eged with brass-headed nails.  The chairs' backs are rectangular, wider at the top than at the bottom.  The chairs' top rails are carved in leaf designs on a narrow project-center cornices that groove in concave side curves.  Pyramided acanthus finial surmounts each side rail.  The chair arms terminate in scrolls above curved supports.  The chairs' bowed seat rail rests on  fluted and tapered legs, terminating in plain tapered feet.  The chairs' forelegs are surmounted by cubical blocks.
Ceiling paper
Columbia Wallpaper, 1905–1915
Machine-printed paper, liquid mica

All-over pattern with clusters of pink flowers and leaves on white and gray scrolls.
Pennant-Winged Night-Jar, Plate 5 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Brown and black speckled bird with two long trailing pendant feathers, one from each wing. Overlooking tropical scene. Title and artists' names below.
Escallier du comte d'Albemarle a Voorte (Stairs of the Count d'Albemarle de Voorste), in Nouveaux livres de peintures de salles et d’escaliers (New Books on Paintings for Rooms and Stairs)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Classical architectural structure with stairs leading below. It is decorated with fluted Corinthian columns, scenes in relief, and sculptures. Draped figures sit at the center; a large group of classical figures on clouds float above.
Figure of America
Julius Goltzius, Dutch, died ca. 1595, late 17th–early 18th century
fruitwood
allegorical panel

Panel in gadrooned frame. Semi-nude female figure with feather headdress, holding bow and sceptre, seated in chariot drawn by two unicorns; in foreground, an armadillo in background, men with bows inside and outside a circular enclosure.  At top right, the word "America" is faintly visible.
Reproduction textile
, late 19th century
silk, cotton Technique: cut and uncut supplementary warp pile in a 7/1 satin foundation (velvet)

Length of voided velvet with cream satin foundation and cut and uncut pile in gray, green, pinks, tan and yellow. Symmetrical pattern of urns of flowers surrounded by scrolling leaves.
Josephine
, 1820–40
Block printed on handmade paper
Sidewall

Drapery pattern, printed in pinks, white and black. Applied borders at top and bottom, with top border cutout in scalloped pattern.
Sidewall
, 1800–1825
Block printed and flocked

On flocked deep red ground, two identical columns of varying clusters of grisaille leaves and flowers - all finely outlined in light brown - drop repeat.
Mâts placés sur le Pont-Neuf aux Fêtes de Juillet 1838 (Flagpole for Pont Neuf, Paris, July Festival 1838)
Félix Duban, French, 1797 - 1870, 1838
Brush and watercolor, graphite on cream paper, mounted on beige paper
Drawing

Design for a red flagpole with crimson banding, terminating at the bottom with a blue-green bell-shaped base, which rests in turn on a red and white marble polygonal base.  The top of the pole is surmounted by a simple gold cap, from which a blue, white and red banner is suspended.
Ceiling paper
Pittsburg W.P. Co., 1896 – 1915, 1905–1915
Machine printed paper, liquid mica

Quatrefoils composed of foliate swags containing either a small wreath or four dots as its center. Each of these are enframed in more foliate swags, joined together by a foliate wreath. Printed in tan and white mica on light tan ground.
Jack of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Jack of Clubs court playing card from a pack of transformation playing cards. Figure of a farming boy holding a large scythe, threshing grain from the plants at his feet. He wears a straw hat with a red ribbon. Black club symbol at upper left corner.
Pleated fan
, late 19th century
Metallic net leaf backed with silk, embroidered with sequins and paillettes, carved and pierced sandalwood sticks

Pleated fan. Metallic net leaf backed with black chiffon. Obverse: decorated with bands and diamonds of black sequins and paillettes sewn on taffeta as well as metal net. Carved sandalwood and pierced sticks.
Fragment
Bannister Hall Printworks, 1804–06
cotton Technique: block printed on plain weave; three blue warp threads in each selvage

Printed fragment with a wide border of Chinoiserie motifs and in an allover pattern of pagodas, birds on a tree and vase with flowers. Printed in red on a yellow ground.
Border
, 17th–18th century
linen Technique: needle lace

Small-scale design of short curving branches with flowers and sprigs. Pattern has varying degrees of raised work with some areas showing graduated padding covered with buttonhole stitches. Crescent shapes in the design are heavily decorated with picot frills. Tiny padded and picoted rings are sprinkled throughout the design. Commonly referred to as Rose Point.
Tassels
, late 17th–early 18th century
silk, metallic thread, wire, glass Technique: embroidered

Pair of double-headed crowned eagles in needlework attached to white silk embroidered bands. Eagles, worked in the round, are of plaited gold thread. The wings, tails, and crowns are wire covered with looped silver wire. Colored silk tufts hang from beaks, claws, tails and wings. Silk bands embroidered with couched gold and glass jewels.
Ewer with a Bas-Relief
Enea Vico, Italian, 1523–1567, 1543
Engraving
Print

Design shows ewer with handle formed from two snakes and lip formed by a shell resting on a grotesque head. At center is a relief band showing a battle of seahorses and figures, with grotesque heads above and terms below.
Plate in Nouveaux Livre de Paysages (New Book of Landscapes)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

A pastoral scene in the foreground inside an arcade; two shepherdesses and sheep sit on the ground, as two men on horseback walk into the arcade. In the background, a ship is being docked by three men, all under a cloudy sky.