biglam/cooper-hewitt-alt-text huggingface dataset:
Niagara Falls and Terrapin Tower in Winter, New York
Frederic Edwin Church, American, 1826–1900, March 1856
Oil and graphite on cardboard
Drawing

Landscape sketch showing a view of Terrapin Tower and the Horseshoe Falls portion of Niagara Falls from Goat Island, New York. In the foreground, the nearby snowy riverbank is shown with a wooden walkway with handrails that traverses a nearby rivulet to Terrapin Point, where Terrapin Tower stands on the very edge of Horseshoe Falls. An observation platform is visible at the top of the tower, which is covered in ice and snow. From Terrapin Point, the Falls curve to the left through the middle distance and into the background, where the Canadian Bank of the Niagara River is visible--wooded and snow-covered. At center and right, a towering plume of mist rises from the base of the Falls and catches the pink light of the setting sun, which streams in from the west. Above, a largely overcast sky breaks up at right to reveal blue sky.
Study for The Ascension of the Virgin
Giuseppe Marullo, Italian, 1615 - 1685, 1650–85
Brush and gray wash, pen and brown ink, red chalk on paper
Drawing

Angels are participating in the event.  Two hold a crown over the head of the Virgin.
Two Putti
François Boucher, French, 1703–1770, 1775–84
Etching on laid paper
Print

Two winged putti seated. The putto to the right with arms outstretched, holds a stick or wand in his right with large open bat wings. The one to the left, sits with his head resting on his folded arms. The plate is signed.
Woman
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a woman in a row boat.
Extreme Unction
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1595
Pen and brown ink, brush and brown and black washes over black chalk on laid paper
Drawing

Recto: View of a crowded, richly decorated interior with, at left, an old woman in bed holding a lighted candle. A priest holding a crucifix stands at her bedside. At center, beside the door, a figure kneels in sorrow.  At right a group of women clasp hands and weep. Another tends a fire.
Title Page
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Title page for a series of designs for ornamental trophies representing the arts and sciences. The title is lettered in the center of the plate, framed by a hanging garland of flowers, leaves, ribbons and festoon of leaves.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, a very high entablature, the moldings of which are variously colored, on top. The wall panel is densely covered by candelabra consisting of a repeated single plant motif. They are staggered and differently colored in alternate rows.
Ecran Militaire [et] Ecran à Pivot
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two screens. The screen at left is decorated with military attributes, including a plumed helmet, flags, crossed axes, and bound fasces. The screen at right is round and decorated with ribbon-bound laurel branches; it is carved with bead course and gadrooning. Below the screens are designs for their bases; between them, details of the plumed helmet of the left screen, and the foot of the right screen. The plate is signed and numbered.
Furniture mount
, ca. 1800–10
Gilt bronze

Two classical with with washing.
Design for a Chimneypiece
Luigi Righetti, Italian, 1780 - 1819, 1799
Pen and black ink, brush and watercolor, graphite on paper
Drawing

Horizontal rectangle. Design for a chimney piece intended to be executed in marble with mosaics and bronze appliques. Laterally are two pillar stripes on either side, that in front having the shape of a terminus. It is framed by a moulding, as is the border which frames the opening on three sides. The terminus is decorated with a plant candelabrum with a swan on top, the border by garlands of calyces. The ornaments are white upon red ground. Above the termini and in the middle of the frieze are framed mosaics, representing landscapes. The two panels in between are decorated with a pair of sphinxes crouching symmetrically beside a vase. Their tails end with acanthus spirals. At left is the section, below is the plan, the scale, and an inscription.
Two Male Heads
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Study of two male heads for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Dyer's record book
Cocheco Print Works, Dover, NH, USA, 1884
paper, cotton

Small notebook with handwritten formulas for dyestuffs to be used for printing textiles. Book contains 321 cotton samples printed with various patterns.
Sample
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction textile in a design inspired the Cooper Union Museum collection. Pattern has broad vertical stripes of a fine checkerboard pattern alternating with stripes of flowers and bells.
Embroidered picture
, mid-19th century
wool and silk on cotton foundation Technique: counted stitch embroidery on plain weave

Berlin-work picture of a woman standing before a table laden with fruit feeding a parrot. Strong colors on a white canvas ground.
Bedcover
, late 19th century
cotton, wool Technique: printed by engraved roller on plain weave; Woven cotton tape with cotton weft-loop fringe (1.5cm. sections of red wool at 5cm. intervals) attached to 4 sides. Note crossed and recrossed warps.

Unlined bedcover made of two full widths and part of another of printed fabric with fringe on four sides. Pattern composed of two stripes. The wider a flowering tree on a blue background. 17.5cm. wide and the other 8.5 cm. wide with an urn of flowers on a white background. Two groups of stripes are half dropped with an additional section of each on left and right to fill width of fabric.
Brooch
, 18th century
Diamonds, gold, freshwater pearls

Antique Georgian brooch in the form of a branch set with 272 rosecut doamonds and 3 freshwater pearls.  The setting is fine silver backed with gold.  There is one trembling flower in the center.
Full size sketch for a cartoon for cotton printing:The Arts [Les Arts]
B. M. Lebert, 1759–1836, ca. 1815–20
Pen and ink on cream colored paper
Drawing

Joined horizontally with 1898-21-26B. Two parallel panels, separated by strips indicated to bear fantastic leaves place in alternating sequence, shown in the "style chinois": upper left, two mandarins seated on a bench under a canopy at the top of a flight of crooked steps, the one playing a lute and the other holding a book in his lap, musical instruments on the ground and a dancing figure at the bottom of the steps (symbolizing Music); lower left: a mandarin is seen sculpting a statue of a seated mandarin, under a canopy (symbolizing Sculpture); upper right: a mandarin is seated under a canopy painting the portrait of a seated lady, above, a flight of crooked steps on which an assistant is seen mixing colors (symbolizing Painting); lower left: a Chinaman is chiseling a pedestal, beside him lie fragments of classical architecture, and other blocks are strewn on a flight of crooked steps, above (symbolizing Architecture).
Sidewall
Morris & Co., London, England, 1879
Block-printed, embossed

All-over patterning of stylized floral motifs forming medallion-like figures, printed in gold over deep red.
Fragment
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Fragment of Lille type bobbin lace.
Textile
, late 18th–early 19th century
cotton Technique: printed by engraved copper plate on plain weave

Long narrow panel printed in red on white showing design of flowers, insects, and birds. Incomplete repeat.
Fragment
, late 18th century
linen Technique: needle lace

Fragment of Alençon lace has minute scattered flowers and leaves in the upper half while the lower portion has small arched compartments containing floral motifs.
Fragment
, late 19th century
cotton Technique: needle lace, interlacing and wrapping

Indeterminate pattern of three-lobed leaves and stems.
The Castle of Launceston
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

The castle is seen in the distance. A country road, in the foreground, sloping downhill, with small houses beside it, right.
Fragment
, 18th century
silk Technique: plain weave with supplementary weft patterning (brocaded)

Blue and white textile fragment made of two mirrored pieces. Design showing exotic birds flanking an urn and eating from a fruit vine.  A border design at each selvage.
Knob with Escutcheon and Lock Mechanism
, ca. 1835
porcelain, bronze, gold, metal
knob, escutcheon, and lock

Escutcheon, convex, with inner and outer ring of bronze cast in foliate design; backed with brass plate to which pulley is attached. Knob of bell pull in foliate bronze with inset porcelain button, terminating in u-shaped brass channel through which runs a transmission chain. Porcelain portions decoration with gilt palmette and lotus motifs.
Lithophane Depicting a Courtship
, 1825–1900
biscuit
lithophane

Horizontal rectangle with impressed design showing an old fisherman acting as intermediary for a young man and woman. Fisherman's boats in background
Peep-show, Vue d'optique Representat le Pont Marie et le Pont Rouge a Paris, No. 66
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Sample end of lappet
, 19th century
linen Technique: bobbin lace, Mechlin style

Sample end of a cap streamer with a Louis XVI design. Openwork edge with sprig and blossom in the field.
Wood Engraving. Vignette.
, 1800–1830
Engraving and etching

A trophy of classical arms. Two wreaths are included.
Fragment
, 16th century
linen Technique: bobbin lace (continuous braid-like)

Fragment of heavy coarse edging lace with points. Small "seeds" in band above points.
Drawing
Felice Giani, Italian, 1758–1823, About 1801
Pen and brown ink, brown wash, over black chalk, on rolled paper.

Vertical Rectangle octagonal frame. Shown in the pose of the Erytheon Sibyl by Michelangelo.
Textile
, 18th century
silk Technique: plain weave with supplementary wefts

Symmetrical arrangement of polychrome flowers on off-white.
Design for an Embroidery or a Woven Horizontal Border, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Black crayong, brush and gouache on glazed tracing paper, laid down on paper
Drawing

Pear forms, seven of which are shown, are hanging from a short bough covering the upper halves of circular lace panels.
Design in Three Views for Mahogany and Inlay Sideboard
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Elevation view: rectangular sideboard with four front legs with animal paw feet; central niche with punch bowl inside, topped by single drawer and flanked by doors decorated in patera medallions and topped by drawer; molded backsplash.
Side view: molded cornice, short back brace and feet, columnar support above animal paw feet.
Plan view [partial]: sideboard with concave center front and protruding columnar supports.
Sidewall
, ca. 1843
Block-printed

Bi-symmetrical foliage, flower and foliate scroll pattern in pale gray. Straight across match.
Sidewall
, ca. 1820
Block-printed on handmade paper

Stylized floral/foliate stripe design. Alternating broad stripes of salmon-color and deep green. Bands of a vining foliate twist and a diamond stripe on the green band. Printed in salmon and white on a green ground.
Design for Music Cabinet with Neo-Classical Ornament
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular body with front panel and lower shelf inlaid with neo-classical ornament; raised on 4 short, tapering legs.
Sidewall
, ca. 1880
Machine printed on embossed paper

Aesthetic style design with dense all-over pattern of foliage with several varieties of flowers; single-motif repeat glide-reflected vertically and printed in columns; foliage marked out in dark red and green, with flowers predominantly green and leaves predominantly red; dark green ground on vertically ribbed paper.
The Artist's Drawing Room on Lake Constance
Louise Cochelet, French, 1785 – 1835, 1816
Brush and brown wash, graphite on white wove paper
Drawing

The brown wash grisaille rendering creates a serene atmosphere, with views of ancient churches and castles seen through open windows. The sparsely furnished room, belonging to the artist, is furnished in the French taste, as seen in the asymmetrical chair between the windows and the lyre-supported table in front of it.  The straight lines of Neo-Classicism pervade the small salon.
Panel
, 17th–18th century
linen Technique: needlework on knotted net, plain weave foundation

Horizontal rectangle of knotted net embroidered with the design of a couple under a crown. Pairs of birds are on either side of the couple. A one inch band of plain weave linen borders the knotted net.
Model for a Pulpit with Staircase
, mid-19th century
walnut, pear (wood), oak
model of a pulpit

With central column around which a bombe spiral staircase rotates terminating in a similarly curved inverted cone-shaped pulpit surmounted by a carved scroll canopy attached near the top of the column, all resting a rectangular geometrically inlaid marquetry floor-base
Brocade paper
, 19th century
Gold on paste print paper

The design is printed in four bands running horizontally across the paper. The top and bottom bands show steam locomotives pulling four passenger cars. The two middle scenes show people strolling, on horseback and horse drawn carriages. The design in printed in metallic gold on a background stencilled in a harlequin pattern.
Design for Table, Hounds
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1916
Graphite and charcoal on paper
Drawing

Design for a console table intended to be executed in iron. Two elongated hounds standing on their hind legs form the base of the table, their outstretched hands supporting the table top.
Embroidered picture
Unknown, ca. 1650
linen, silk, seed pearls Technique: stumpwork with embroidery; raised, tent, rococo (Queen), satin, bullion stitches, and needle lace

Stumpwork picture of Abraham and Hagar depicts a castle, house, and tent with multiple figures telling the Biblical story. A deep border is filled with animals, birds, insects, and flowers. Three-dimensional, raised details appear throughout.
Album of Prints: Books of Ornament by Prieur
Jean-Louis Prieur the Younger, French, 1759 – 1795, late 18th century
Album

Album of prints containing cahiers 6 and 9 of designs for "arabesque" ornament by Prieur.
Sketches of Figures on Boats
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Figures with poles, working, rowing, sketches are probably in Venice. Some figures are facing forward, some are drawn from the back.
I Play Poker with the Old Man
Charles Dana Gibson, American, 1867–1944, 1897
Ink on paper
Print

Trial proof for illustration. Two men, one bearded, in evening dress face each other. In the background, sporting sketches.
Vase
Emile Gallé, French, 1846 - 1904, 1884–89
Earthenware

A fan shaped vase sitting on two feet. The vase is a brown and black marbled color with a mountain night scene and a floral (with butterfly) day scene on the front.
Abundantia Terrae
Kenyon Cox, American, 1856–1919, after 1908
Photostat
Print

Two panels. Above in floral pattern, a cartouche that reads: ABVNDANTIA / MARIS. Below a female figure holding a fish and a triton, seated on a dolphin or whale.
Edging
, early 18th century
Technique: bobbin lace

Edge of bobbin lace floral ovals repeated; early 18th century Bedford.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, ca. 1757–1769
soft paste porcelain, vitreous enamel
plate

Flat marly springing from scalloped inner rim. Raised, feathered edge, painted brown and green. In center, large and small cucumber and an apple. On marly, three rose hips, a purple long radish, currents and small red berries.
Louis XVI or Trianon
Jules Desfossé, French, active 1851 - 1863, 1851–65
Block-printed paper
Border

Two separate foliate medallions, each with tassel in green, containing motif of musical instruments in terra cotta, with beading along one side; on off-white ground.
Sketchbook Page: Rubbing of Rose of Sharon (Hibiscus) Leaf
Kenyon Cox, American, 1856–1919, 1874
Graphite, blue crayon on paper
Sketchbook folio

Recto: Rubbing of Rose of Sharon (Hibiscus) leaf in blue crayon, outlined in graphite; sketches of stem and leaves above. 
Verso: Sketches of flowers, buds, and arrow-shaped leaves.
Sidewall
, ca. 1890
Machine-printed

Green texture print imitating damask: formalized stiff flowers separated by lacy bands. Straight repeat and match.
Palampore
, late 18th century
cotton Technique: mordant-painted and resist-dyed (chintz)

Half of a palampore with a tree trunk in brilliant light red rises from a mound and curves heavily right before branching toward the top. Various flowers in brilliant red and dull violet with leaves in two shades of blue with red accents appear. Vestiges of yellow remain in leaves of small flower clusters. To left of the curved trunk appears a half medallion formed from ribbon knots and flowers framing a cluster of roses. The mound is comprised of pointed hillocks in reds, blues, and browns with much shading. A pheasant in many colors is perched on a short plant rising from the mound, and a small flowering tree is at the right end. Birds in branches are babblers. Finishing the right side and top, a border about twelve inches wide is composed of narrow festoons of ribbon and small flower clusters, and an outer festoon simulating a pale rose-colored ribbon with flower clusters at each curve in reds, blue, and pale violet. A narrow band of red is painted along the edge at the right side and across the top.
Design for Window Wall Decoration, possibly for Library, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, graphite on paper
Drawing

Elevation of a long wall, with a pair of windows at left, and a group of three at right. Narrow panels with neutral fields, as well as panels with Chinese scenes between them. Panels above windows and cornice above not filled in.
View of Blue Seascape with Cliffs and Structures
William Trost Richards, American, 1833–1905, after 1878
Blue colored pencil on cream wove paper
Sketchbook folio

Choppy ocean with small rocks in left foreground, cliffs at right, structures atop cliffs.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Alternating large and small medallions on a dotted background. Two borders printed across the width.
Handkerchief
, late 19th century
cotton Technique: printed by engraved roller on plain weave

Red cotton handkerchief printed with black on cream showing a central scene of the interior of Louis Pasteur's laboratory. At left, Pasteur is shown seated administering a vaccine. Decorative scrolling border with medallions containing animals at each corner. Hemmed on the two ends.
Wrapping cloth (furoshiki)
, 19th century
cotton Technique: flat surface resist on plain weave

Square carrying cloth (furoshiki) with the design of a bundle of seaweed and a flowering branch in the center of a blue-green ground. Light blue crest in one corner. Three pieces of fabric sewn together, the outer two selvage to selvage widths, joined prior to dyeing. The linear pattern is achieved by a resist paste. Four corner reinforced by three rows of running stitches radiating from the corner. Two sides reinforced by double row of running stitches. Top and bottoms hemmed. Small tassel at each corner.
Ceiling border
, 1875–1906
Block-printed paper, embossed

Wallpaper roll. One quarter of a medallion, containing a fan shape radiating out from corner, a large floral bouquet and a Greek key motif.
Textile
, mid-18th century
cotton Technique: mordants for 2 reds, purple and black applied by pen and brush; madder dyed; blue applied over resist.

Fragile curving stems on a deep red background.
Study of landscape, Switzerland
William Stanley Haseltine, American, 1835–1900, ca. 1856
Brush and watercolro, graphite on paper
Drawing

Sketch of a farmhouse.
Sidewall
, 1800–1825
Hand painted on handmade paper

Horizontal rectangle. Irregular serpentine intertwined vines, with morning-glory, lotus and other flowers, painted in colors on green ground.
Sidewall - sample
, 1906–07
Machine-printed

Two vertical stripes 4 1/4 inches wide and 5 inches apart. Fleur de lis motifs run in the center of the stripes. A weave simulation in verticals covers the background. printed in shades of green, beige, off-white and gold mica.
Sampler
, 1814
wool and cotton Technique: embroidered in half cross and tent stitches on plain weave foundation

Isolated motifs including a parrot at bottom, houses at the top, and "souvenir" and "Amitie" within wreaths in the center.
Cushion cover
, early 17th century
silk on linen Technique: counted stitch; double running and back stitch embriodery on plain weave

Two pieces of fabric with blue and yellow embroidery of floral shapes. Component "a" has a length of blue and white linen five-strand braid attached which makes one inch loops at approximately one and a half inch intervals. The embroidered design is diagonal floral forms and ornamented squares. Component "b" is trimmed with braided tape in the same manner as "a." At the end of each loop is a toggle covered with blue silk and white linen. When both pieces are placed over a cushion, the toggles from "b" would button through the loops on "a" leaving the pillow exposed on the sides. The embroidery on "b" is limited to the edges of the cloth.
Pleated fan and box
, late 19th century
Linen bobbin lace leaf, incised and pierced mother-of-pearl sticks with silver and gold foil, gilt metal bail

Pleated fan. White bobbin lace leaf in floral design. Incised and pierced mother-of-pearl sticks with silver and gold flowering vine design. Mother-of-pearl rivet head and gilt metal bail.
Ceiling paper
, 1907–08
Machine-printed on paper

On light salmon ground, treillage of gold and green scrolls containing pointed medallions in green with gold scrolls and others containing pink blossoms with green leaves.
Sidewall - sample
, 1906–08
Machine-printed paper

All-over design of spiderwebs on background of tiny dots and very fine vermicelly-lines. Printed in chartreuse, dark green, brown on a pale chartreuse background.
door knocker
, 1550–1650
Bronze

Two lions flank a coat-of-arms. Below, a satyr mask.
Sidewall
, 1810–25
Block-printed on handmade paper, satin ground

Four sprig clusters. Each features red and lavender flowers on black stem with green foliage. Surrounding these sprigs, a subordinate pattern of flat gray trailing foliage on light gray ground that has a slight gloss finish.
Border
, early 17th century
linen Technique: needle lace

Narrow band with four deep triangular pendants with scrolls and flowers.
Study of a Baby
Louise Howland King Cox, American, 1865–1945, ca. 1895–1900
Graphite on grey-brown laid paper
Drawing

The baby is lying on its back, seen in profile.
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 and Butterflies
, 19th century
Brush and gouache, graphite on blue paper
Drawing

At lower center of page clusters of pink and white flowers on branches with foliage, with four butterflies and two bees flying above them on blue ground. Diamond-shaped guide lines in graphite are visible, and are bisected horizontally and vertically.
Study of foliage
William Trost Richards, American, 1833–1905, June 12, 1861
Graphite on paper
Drawing

Sketch of a tree with foliage.
Textile
, 1825–1830
cotton Technique: printed by engraved roller on plain weave

Textile with half drop repeat of scattered flowers and thorny branches with a bird and a butterfly in red and brown on a dotted and speckled background.