biglam/cooper-hewitt-alt-text huggingface dataset:
The Glengary Habit, from R. Ackerman's Repository of Arts, &c.
, September 1, 1817
Wood engraving on cream paper
Print

A woman dressed in blue empire waist dress and a plumed checkered bonnet.
Hancock's Corps Assaulting the Works at the "Bloody Angle"
William Brooke Thomas Trego, American, 1859 - 1909, 1887
Pen and black ink on wove paper
Drawing

The Union and Confederate troops in hand-to-hand combat.
Design for Wall Decoration, Possibly for Lobby or Vicinity South of Dining Room
Frederick Crace, English, 1779–1859, 1802 or earlier
Brush watercolor, pen and ink on paper
Drawing

Vertical rectangle. Design for the Royal Pavilion, Brighton. Design for a section of a wall showing four narrow vertical panels containing painted lattice-work designs. Smaller panels above and below bear scroll designs. Narrow columns at ends of the wall.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Study of foliage
William Trost Richards, American, 1833–1905, 1850
Graphite on paper
Drawing

Sketch of a bundle of leady and flowered stems.
Folding Spoon with Engraved Floral Decoration and Lion Cartouche
, ca. 1700
silver
folding spoon

Oval spoon bowl, rattail and engraved decoration on back of spoon. Flat handle, flaring towards the end. Hinged, small sliding band. Handle has engraved floral decoartion on front and back with a lion in a cartouche on the back.
Sidewall - sample
S.A. Maxwell & Co., 1906–08
Machine-printed on paper

Large heraldic shield on cartouche, against a fabric-like bright red ground.
Textile
, ca. 1730
silk Technique: plain weave with continuous supplementary weft bound on the front in 1/3 twill

Vertically symmetrical pattern of flowers and leaves in off-white on a green background.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Trellis or grid pattern featuring alternating leaf-like quatrefoils with scalloped border and beige medallions containing radial, foliate designs. Beaded swags create the borders between quatrefoils and medallions. Printed in browns, yellows and greens on khaki ground.
Fragment
, 19th century
silk Technique: embroidered in satin stitch

Open plain weave black silk square embroidered, mostly in satin stitch, in white, red, and yellow silks. Bird and flower design.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Band of large blue and link and medium green and pink fleurons alternating with band of small green and pink fleurons. Fleurons are connected by white mica scrolls with sylized floral pendants. Printed in light green, pink, blue liquid mica and white liquid mica on light beige ground. Printed in selvedge: "S.A. Maxwell & Co. New York & Chicago" ; "Exclusive Design No. 2379".
Ceiling paper
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper, liquid mica

Individual leaf sprigs in alternating directions. Ground is cream. Printed in gold mica and white mica.
Sampler
Maria de la Luz Garcia, May 11, 1852
wool, silk Technique: embroidered in satin, stem, knot, cross, buttonhole, chain, herringbone, feather, and running stitches with withdrawn element work and needle made fillings on plain weave foundation

Unfinished sampler with horizontal bands of animal patterns in running stitch imitating weaving in the lower left corner, a large floral motif in the lower right corner, a various geometric pattern bands, withdrawn element work, and spot motifs scattered over the ground. Embroidered in pale shades of brown, blue, green, yellow, and pink on a natural ground.
Brisé fan
, late 19th century
Painted ivory sticks, silk ribbon, mother-of-pearl on guards, rivet set with a faceted stone

Brisé fan. Ivory sticks painted to resemble vernis martin. Obverse: a classical scene of warriors and women at camp. Reverse: a port scene. Rivet is set with a ruby-colored faceted stone. Mother-of-pearl on guards.
Waistcoat fragments
, late 18th century
silk on silk Technique: embroidered in satin stitch on satin weave

Fragments of an embroidered waistcoat without collar or lining. Cream silk embroidered with pattern of small scattered flowers and trailing leaves with vertical stripes. Embroidered around the collar, front and pocket flaps with a design of  flowers and circles carried out in satin stitch. Silk-covered buttons embroidered with flowers.
Cranes
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

A stencil of cranes flying in all different directions. The birds are lightly decorated with curves and suggestion of feathers. Silk thread is added to support the stencil structure
Fan-Shaped Butter Dish
Simpson, Hall, Miller, & Co., Wallingford, Connecticut,1866 – 1898, ca. 1880
silver plated, metal, gold
butter dish

Butter dish in the shape of a folding fan. The golden monogrammed basin is centered in the silver fan.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

On a pink ground, dark pink ribbon wreaths containing vine motifs in greenish gold.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. A single tree fills most of the panel, stone wall at base of tree in foreground.
Sidewall
, ca. 1885
Fiber composition, tung oil, embossed

Imitation leather. Random arrangement of adjoining geometric shapes - triangles and irregular polygons, each with a different embossed field. Some of the polygons have, in addition, further ornamentation in the form of decorated roundels, flowering stems, small dragons and cloud bands, respectively. Anglo-Japanesque design.
Border
, 1830–50
Block-printed

Six full lengths of borders with two shorter sections. Greek key design with three-dimension effect. Beading along one edge. Printed in blue and orange on black ground.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Full-length figure of a woman in costume, standing, turned toward the right.
Cap streamer
, 1690s
linen Technique: needle lace

Cap streamer decorated with symmetrical scrolls that extend from a central line of a vase and flower pattern. Raised three-dimensional details. This style of lace is commonly referred to as Rosaline.
Winged figure looking upward
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Winged figure floating and looking upwards. His left arm is raised and bent. The beginning of a sketch of a floral motif to the left.
Waves and Three Cliffs
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Waves on rocks below cliffs, at left.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Four stylized floral sprigs meet at a central point, which then is enclosed in a nearly square foliate medallion. These larger square shapes are linked by smaller foliate medallions with a diamond shape in the center. Printed in red, green, light blue, and metallic gold on light tan ground.
Sampler
, late 18th–early 19th century
linen and silk embroidery on linen foundation Technique: embroidered in pattern darning and deflected element work on plain weave foundation with

Whitework.  Sprays of flowers and leaves with practice stitches at the edges.
Interior of the Place Dauphin, Plate 79 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Houses line both sides of a street with bundles of goods on it. The square, with an equestrian statue, beyond. Title, artists' and publisher's names below.
Fork
, ca. 1600–1700
steel, silver, ivory

1985-103-176-b: Sabre-shaped blade with straight upper edge; globu...;     1985-103-176-c: Two long tines, curved shoulders. Spiral-shaped ne...
Frieze
Kayser & Allman, 1905–1915
Machine-printed paper

Border printed two across the width. Design contains alternating large and small foliate medallions, each containg an acanthus fleur de lys. Background sahdes from light tan at the top to darker green at the bottom. Beading along bottom edge. Printed in shades of green, white, and metallic gold.
Textile
, early 18th century
silk Technique: compound satin weave with supplementary weft

Length of light brown satin with a ground pattern of small rectangles containing alternately a single rosette or small checkboard pattern. Over this ground are large-scale repeats in alternate horizontal rows of two versions of a crumbling arch with sky behind and a bunch of large flowers in twilled flosses in blue and yellow-greens, beige, tan, dark brown, rust red, pink, and blue.
Fashion Plate no. 319 from L'Iris, Moniteur des Modes
Imprimerie Mariton, French, active mid-19th c., 1861
Hand-colored engraving on paper
Print

Fashion plate from L'Iris, Moniteur des Modes.
Frieze
, 1905–1915
Machine-printed paper

Scrolling foliate medallion containing sylized floral motif alternating with similar structure containing foliate sprigs appearing like trellis work. Dense pattern of foliate scrolls across lower portion.
The Sphinx, Egypt
Elihu Vedder, American, 1836 – 1923, April 18, 1890
Pastel crayons on blue-gray wove paper
Drawing

In the foreground, the head of the sphinx, shown in profile. In the distance, left, the pyramids of Abousir.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, textured, liquid mica

Rococo-style floral design, with bouquets of white roses sitting atop asymmetrical acanthus scrolls. Each of the elements is outlined in metallic gold. Printed in white, green, gray, and metallic gold on a tan or greenish ground.
Frieze
, 1907–08
Machine-printed

Floral bouquet set between floral swags. Printed in green, pink and white on loire-like ground.
Plate
, ca. 1810–20
Glass

Round with prismatic cutting under center, faceting at cavetto, diamond band around rim and notched border.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on brown paper
Drawing

Cluster of flowers and foliage at center of page, on brown ground. Left to right: blue flowers, pink rose with buds, white flower. Above this cluster: two stalks with flowers, right at left, yellow at right.
Matchsafe
, ca. 1910
Molded vulcanite

Rectangular, curved sides and lid, featuring raised dot decoration on rectangular, instrument-like form with projections on upper right and left. Reverse features raised rectangular shape with two vertical bands running through it, beneath which is inscribed "Wood Separator."  "Chloride" inscribed on top of lid in upper case, gothic-style letters. Entire box black in color. Lid hinged on side. Striker molded into bottom.
Lincrusta bedburg
, 1900–1920
Lincrusta

A Gothic revival style relief wall decoration. Interlocking hexagonal shapes with ogival pointed arches at top and bottom. Forming horizontal rows the interiors of each hexagonal alternates two on a row with four different interiors in total. This material is a light tan in color.
Title Page and Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Title page and two frieze designs. The title is lettered in the lower frieze over a draped fabric held by flanking female figures. The friezes feature, putti, male and female figures, scrolling leaves (rinceaux), festoons of leaves, a rosette, scale pattern, sphynx, a bird, and fruit. The plate is numbered.
Design for the Embroidery of a Man's Waistcoat of Pattern No. 579 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Left bottom corner. A zigzag line and flowers alternating with palm leaves along the edges. Bunch of flowers and palm leaves are at the pocket and beneath it.
Trimming
, 19th century
silk Technique: woven

Red, brown and white trimming fragment in a design of leaves and diagonal lines between borders of blocks.
Sampler
, 1842
glass beads, wool foundation Technique: beadwork on plain weave

Border of four floral patterns surrounding an inscription in Dutch (?) with detached motifs.  Mostly religious in character.
A View of Somerset House with S. Marys Church, London
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of Somerset House and St. Mary's Church down Strand Street in London. The church spire rises prominently at right, with the wide street extending into the background at center. Somerset House is visible at immediate left, with a neoclassical façade. The windows of most buildings lining the street are cut out, with fabric and thread visible through the openings. Horse-drawn carriages and pedestrians are scattered mill about the street. A blue sky fills the top margin. Printed along bottom margin: AView of Somerset House with S. Marys Church, London. / Veduta della Casa Reale di Somerset, colla Chiesa di S. Maria

Verso: Patches of colored fabric, visibly attached with thread. Printed label:Vuë de la Maison Royale de Somerset avec l"Eglise de S. Mar [---] a Londres. / a Londra. /  Gesicht des Königl: Haußes Somerset, sant der S. Maria Kirch zu London. / I.G. Winckler Sc. / Cum Gratia et.Privilegio Sac: Caes: Majestatis. / Georg Balthsar Probst, excud. A.V.
Fragment
, 17th century
silk, metallic thread Technique: plain weave with supplementary weft

Cream-colored groud with a horizontal repeat of a three-domed mosque above a courtyard with a pool and potted flowers. Brocaded in green, blue, yellow, orange, and pink with silver and gold metallic thread.
Altar Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for an ecclesiastical (church) altar decorated with classical motifs featuring sculpted saints, flaming vases, festoons of leaves, masks (mascarons), fluted pilasters, putti, cartouches, brackets, and a model of a domed church. A scale below. The plate is numbered.
Designs for Armchairs and a Stool
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two armchairs and a stool without a back. The chairs are decorated with ornament motifs including busts, lions, wreaths, branches, fluting, fasces, drapery, lion claw feet, bead and bar course, putti, and lozenge. The plate is signed and numbered.
Three Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Three bands of border designs, stacked horizontally on the page. The top border, with cross-section on the right, is comprised of a row of acanthus leaves over bound laurel leaves and a row of beads; the middle border consists of a strand of leaves alternating with grapes; the bottom border, also with cross-section on the right, has a band of spiraling ribbon at its top. The plate is signed and numbered.
Elevation of an Apartment Interior
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of an apartment interior with a chimneypiece at the center. A large mirror framed by rocaille ornamentation sits above the fireplace. On either side of the chimneypiece are floor to ceiling mirrors that reflect a garden, and panels with carved or molded decorative motifs including mythological figures, mascarons, birds, squirrels, scrolls, and foliage. The plate is signed and numbered.
Design for a Salt Cellar
Giovacchino Belli, Italian, 1756 - 1822, early 19th century
Pen and brown ink, brush and gray, pale yellow wash, graphite on paper
Drawing

Horizontal rectangle. Design for a salt cellar intended to be executed in partly gilded silver. The design has the same elements as 1938-88-648: below is a circular base with a part of a sphere in the center. The supports are four scroll legs, fluted in the lower parts of the front and fastened together by a ring with rosettes. Above are Medusa masks which are connected by festoons, upon the bowl. The rim has a wave ornament. Design is lower than 1938-88-649, and the bowl has a greater diameter. No cover.
Rocaille Ornament Design
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for trophies, rococo ornament and vignettes. A group of musical instruments - a tambourine, horn, and cello- in the middle of a fantastical rocaille interior featuring sheet music, cartouches, c-scrolls, acanthus leaves, palm leaves, garlands of flowers, and shell motifs with interlaced garlands of flowers, balustrades, and a candelabrum. In the backroad, a seated female with a male behind her and another at her feet. Above two winged putti with a central cartouche featuring three fleurs-de-lys with a draped fabric hanging from above and pulled back to the left. The plate is signed and numbered.
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

First and second pages (recto and verso) with the engraved text describing the festivities, within a rocaille border, with a headpiece vignette depicting a procession with crowds of people watching along the sides of the road, leading towards Strasbourg. The border is decorated with acanthus leaves, garlands of flowers, c-scrolls, cartouches, gadrooning, fleurons, shells, water, and foliage, with the arms of the city of Strasbourg in the center on the top, flanked by musical instruments. The headpiece is titled and signed, and the pages are numbered.
Design for a Frame
, 1680–1720
Pen and brown ink, traces of graphite on off-white laid paper
Drawing

The right half in graphite, the left in ink. Strait sides with scrolls above and acanthus leaves below.
Design for a Pendant
, 1850–75
Pen and sepia on paper
Drawing

A circular diamond is framed by two snakes, strapwork serve as handles, by which the chain is fastened. Below is a diamond.
One of a set of twelve projects for the decoration of wall panels, to be placed at a height. Preceded by a title page
, 1675-1699
Pen, brush, sepia
Drawing

Left side with one angel
Design for a Casino or Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1796
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Design for a casino or Kaffeehaus.
Panel with the Letter "E" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

A boy rides a donkey ("Esel").
Design for Coat of Arms, from "Livre de Cartouches"
Nicolas Guérard, French, ca.1648–1719, ca. 1680
Etching on paper
Print

Plate 4. Four escutcheons. Four native men, a satyr. Two captives.
Niagara Falls from the American Side, New York
Frederic Edwin Church, American, 1826–1900, 1856
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of Niagara Falls from the American side, viewed from midway up the bank. In the foreground at center left, the nearby vertical cliffs--partially covered in trees--extend in layers in the middle distance at center. At center right, Terrapin Tower is perched atop the edge of Horseshoe Falls at Terrapin Point, while, below it, water pours over the edge of the Falls in ribbons. Rocks and boulders are visible at the base of the Falls at lower right. Dramatic storm clouds are visible in the sky above.

Verso: Landscape sketch at Niagara Falls showing a view of Goat Island and Terrapin Tower from the American side, New York. At center, two overlapping cliffs are visible--the most distant being that of Goat Island. Just beyond it, Terrapin Tower is shown perched atop Horseshoe Falls, with most of the Falls left unrendered.
Sidewall
, ca. 1885
Intaglio printed

Vertical rectangle, with portion of two groups of playing children dressed in the style of the late 18th century, with landscape settings. Upper right, children at a swing; lower left, children seated in a garden.  Intaglio-printed in colors.
Motif for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on cream wove paper
Drawing

Two female figures, one standing and one sitting. The figure on the left, standing, is shown frontally, raising a torch with her left hand. The seated figure is shown in profile.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. Each plate features designs for three obelisks with variations on their bases and shaft shape and decoration. The obelisks are topped with, from left to right, a dragon, a cross, and a sphinx on the left plate, and on the right plate, a vase, another obelisk, and a crowned coat-of-arms with three fleurs-de-lys. Both plates are signed and numbered.
Deux diferents desseins de Comodes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevations of designs for two dressers with the plans of the marble dresser tops below. The dressers are decorated with ornament motifs including rinceaux, a floral basket, scrolls, shells, ram head. The plate is signed and numbered.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

The repeat, four of which are shown, consists of a feather leaf rising from the left side of a blossom rosette from which two leave boughs hang downward.
Elévation à trois faces d'un Bâtiment Chinois nommé le Trefle situé à un des bouts du Canal du Jardin Royal de Lunéville
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Elevation of a two-story chinoiserie pavilion, with an undulating roof covered in a pattern of fish-scale tiles. At the bottom of the plate is a scale bar of "6 Toises."
Madonna Appearing to Saint
Rodriguez, ca. 1650–60
Pen and brown ink, brush and wash on cream laid paper
Drawing

Figure of a saint kneeling on steps, receiving a rope from the Virgin Mary. Mary has descended in clouds, surrounded by cherubs, to pass on the rope. Angels and putti rejoice.
Trimming
, 17th century
silk Technique: woven

Design of white lozenges set in a red square with yellow borders and a scalloped picot edge.
Design for a Sepulchral Monument to King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash, graphite, red ink on off-white laid paper
Drawing

Funeral decorations for King Louis XVI of France. The elevations of a pyrmaid with a rectangular sockle, standing upon a base. In the middle of the base are four steps, at its corners stand candelabra consisting of four superimposed bag calyces and supported by sitting griffins, with a flame. The sockle has below a moulding, which forms the door frame. Trophies of weapons fill the remainder of the sockle. The door frame is decorated above with a festoon. Above the entablature are a moulding with an inscription and a triangle with a trophy as a pediment. In the upper part of the pyramid is an oval bust portrait, framed by the slope of a festoon. Colored background. Below is a scale, pen, ink.
Facade with the Arms of Pope Benedict XIII, Santa Maria Sopra Minerva, Rome, Italy
Ferdinando Fuga, Italian, 1699 - 1781, 18th century
Pen and black ink, brush and gray wash on heavy cream laid paper
Drawing

Elevation of the facade of Santa Maria Sopra Minerva. Upon the ends of the volutes in the second floor two angels are sitting; upon the couped pediment beside the escutcheon at left, allegorical sculpture of "Faith" (or "Religion") with the tablets of the law and a burning flame upon the head, at right St. Magdalene; above the middle of the central door, upon a console, a lying dog with a burning candle in his mouth.  Commission for the Dominican Order.
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 16