biglam/cooper-hewitt-alt-text huggingface dataset:
L'Hyver
François Boucher, French, 1703–1770, ca. 1754–86
Etching and engraving on paper
Print

An allegorical scene representing winter with four putti around a fire in a landscape with a house in the background. A verse is lettered below. The plate is signed and titled.
Sketch for Putto
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on tracing paper
Drawing

Three-quarter winged figure, recumbent, leaning on the left elbow and the right hand.
Band
, 19th century
linen Technique: bobbin lace (provincial-style)

Band in a wavy ribbon-like design of a tulip alternating with crowned double-headed eagle. Straight edge and round mesh.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1823
Black chalk. Pen, black ink. Grey, black wash. Paper.

The few Greeks try to stem the Persian hordes filling the entire barren pass in the foreground. Leonidas armed with a spear fights a sword bearer, in the right center. A group in the scheme of the Death of Potroclus*** is shown at the extreme right. A road leading downwards in the central middle distance is filled with elephants and soliders.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pencil. Pen, ink. Bistre wash. Paper

Seated upon a chair and wearing a helmet, the goddess holds three wreaths in her hands and is turned toward right, where a herma, objects referring to the Arts, and an opened book are shown. The owl is at left beside the chair. The palette and parts of the books are sketched once more, top right. The preparatory sketch provided for a raised, right arm holding an olive branch.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink with brown wash and traces of graphite on cream laid paper

An oval painting in the center and four octagonal ones in the corners. A seated female genius is shown in the center, A circular domed hall is the setting.???
Design for Painted Frames, from "Bordures de Tableau"
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

A = Jombert 112,2; B = J. 112, 4. C = J. 112,5; D = J. 112, 6..
Flounce
, 1720–30
linen Technique: needle lace

Repeating design of two alternating vase-shapes under canopies with foliate and floral arabesques and scrollwork. Lower long side of shaped outline; upper long side and two short sides are straight and finished with picots.
Handkerchief
, ca. 1880
linen, cotton Technique: embroidered

White linen handkerchief with border of four woven and two embroidered stripes and a monogram, W.P.C. in lavender and white cotton.
The Visitation, from the Life of the Virgin series
Albrecht Dürer, German, 1471–1528, ca. 1506
Woodcut on laid paper
Print

Vertical rectangle. The two women embrace, center. House, left, with figure of man standing in doorway; other figures in background, right. Mountainous landscape in distance.
Fringe
, 18th century
metallic foil on a silk core Technique: woven

Plain woven heading with a scalloped edge of looped threads.
Sewing case
, ca. 1839
cotton, wool Technique: sewn from printed plain weave

Oblong case, made to fold or roll, with five pockets and a red flannel flap at the top for needles. Three patterns of printed cotton back a single piece if brown block design on a stippled ground; pockets of dark red and green patterned cottons. Remains of a gold taffeta ribbon tie, with the inscription in black: Reina Victoria, with the shield of Britain, with lion and unicorn.
Sketch of Figural Group for Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Group of figures, lower left, below an angel, coming from upper right. Probably a study for a mural of the Ascension.
Cooper Union Museum Lace Study Card
, ca. 1750
linen Technique: needle lace
Fragment

Border fragment with an elaborate conventionalized serpentine floral design. Many minute rosettes in relief. Many openwork stitches in the design. Small scallops on the the border.
Sketch for Central Figure in the Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Robed figure standing on clouds, center, left arm around the cross. Facing frontally, with gaze directed downwards.
Drawing
Felice Giani, Italian, 1758–1823, About 1795
Pen and brown ink over traces of graphite on cream laid paper

Alexander stands at right. Diogenes seated before his barrel at left asks Alexander raising his left arm not to let shadow fall upon the book Diogenes was reading. Pupils of Diogenes and soldiers are shown in the middle plane.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen, brown ink. Brown and greyish brown wash. Laid paper Traces of black chalk.

Top, a) A winged genius fights a boar with a spear. A dead eagle lies between his legs.  Bottom, b) a seated winged genius holds in either hand a filled cornucopia. Vine is shown at left, sheafs of grain, and sickles at right.
Fragments
, late 17th–early 18th century
silk, metallic yarns Technique: compound of plain weave and 8-harness satin weave, with discontinuous supplementary wefts either free-floating or bound in 3/1 twill

Two fragments of an allover pattern of brackets, arches, scrolls and flowers. Metallic yarns on a cream damask ground.
Fragment
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile (velvet)

Very dark grey pattern of a diamond grid containing pineapple-like forms.
Border
, 1750–99
linen Technique: needle lace with ground of loop and twist with twist return

Slightly scalloped border with floral sprays in small scale allover pattern.
Mount
, ca. 1730–40
Brass

Shaped escutcheon for drawer handle, bail and bolts of which are missing. Chippendale style.
The Antikamnia Calendar, July and August, 1899: The Doctor's Enemy
Louis Crusius, American, 1862 - 1898, 1898
Chromolithograph on paper with string binding
Calendar

July and August, 1899.
Dessert Knife with Green-Stained Ivory Handle
, late 18th century
green-stained ivory, steel, silver
knife

Part of a set of knives and forks (1959-56-1-a/f). Knife (d): tapering, green-stained ivory handle with beaded silver cap terminal and ferrule and steel blade.
Border
, 1820–50
Block-printed

Two borders mounted on a board. One of the motifs is a knotted drapery in a wreath, rope twist.
Sampler
Rebecca Knight, Scottish, ca. 1740
linen, silk. Technique: cross stitch embroidery.

Horizontal bands of alphabets, pattern bands, a decorative border, and a verse from Proverbs worked in red, green and black silk on natural linen.
Sidewall
, ca. 1880
Machine-printed paper

Neo-Rococo pattern with two motifs of flower bunches repeated one above the other and in off-set columns; highly-detailed brown linework and shading reminiscent of printed textiles; highlighting in dark red on some of the flowers and leaves; cream ground.
Border
, 1860–1890
Block printed and flocked on continuous paper

Top and bottom borders with design imitating passementerie or drapery. Borders are printed on a striped sidewall paper. Printed in green flock and overprinted with brighter green, the top border is formed by intertwined lace or ribbon, forming sharp angles, with pendent tassels. Above this is a wider band of gimp or fancy ribbon. The bottom border is composed of the same lace or ribbon forming sharp diamond shapes. Within the diamond framework is a rosette. Between the diamond shapes is a patera within a rectangular framework. The sidewall is bands of stripes, alternating wide and narrow.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Two square windows in green, yellow, and frames of burgundy, knotted designs at center.
Sampler
, ca. 1880
wool embroidery on cotton foundation Technique: embroidered in cross and counted satin stitches with open work on plain weave foundation

Worked in brightly colored wools in blue, green, yellow, orange, red and violet on a linen ground.  Four different cross stitch borders around a central panel of bargello and openwork motifs.
Border
, 1600–1650
linen Technique: bobbin lace, discontinuous tape

Section of a border with deep scallops. Center design of each scallop shows a vase form with birds on either side. In squares at the base between the scallops is a peacock with spread tail.
Ceiling paper
Kayser & Allman, 1905–1915
Machine-printed paper

Foliate wave scrolls with floral bouquets, connected by floral swag. Ground is beige. Printed in greens, pinks, white, and metallic pink. 
Printed in selvedge: "Philadephia New York" "Kayser & Allman" "Chicago Minneapolis" "572"
Design for Firescreen, Hounds
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Black crayon, graphite on tracing paper
Drawing

Design for a firescreen to be executed in iron. Within the frame, two figures of hounds, their bodies overlapping.
Stables of the Duc d'Orléans, Plate 76 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

View of the center of a long stone building from across the street. Title, artists' and publisher's names below.
The College of Physicians, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Men in wigs sitting and standing around a long table, center, in a large formal meeting room. Title, artists', and publisher's names below.
Open Lock, Akron, Ohio
James Henry Moser, Canadian, 1854–1913, July 1, 1886
Graphite on paper
Drawing

Sketches of a canal lock in Akron, Ohio. Two men, upper right, seen from behind. To the left, a man working a lever. Below, the canal, showing an open lock and trees beyond.
Waves Breaking on Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of ocean facing out towards horizon.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

large-scale floral medallion alternating with smaller medallion. Band of twistted ribbon runs along bottom edge. Printed in deep red, white and metallic gold tan background that shades to green in middle and brown near the bottom.
Fragment
, 17th–early 18th century
silk, metallic yarns Technique: twill weave

Narrow band showing flowers and rooster.
Nine of Spades from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Nine of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Frieze
, 1905–1915
Machine-printed paper

Repeating design of stylized vase forms holding a stylized stem and tulip. Each vase has two flowers protruding from either side. Printed in sea green, gilt, egg-shell white, dark green, tan and gray.
Seal
, ca. 1680
Parcel-gilt silver

Revolving seal, the three sides engraved with a coat-of-arms showing a crowned cipher surrounded with scrollwork. Handle composed of heavy scrolls and a mask.
Grasses and Cranes
, early - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

In Japan, the crane (tsuru) symbolizes happiness and longevity. It is considered a national treasure. This vertical motif was most likey a piece of art rather than a textile design stencil. Silk threads have been added to support the stencil structure.
Sidewall - sample
, 1906–1908
Machine-printed paper

Large-scale flowers printed in shades of green on off-white ground.
Dish
, ca. 1500
Brass

Deep round dish with narrow shallow rim; bottom decorated with repoussé design. About a small raised central boss surrounded by a band of illegible lettering, five onion-shaped petals spring outward, separating five lion masks facing outward from whose mouth spring three stems, the central stem terminating in a bunch of conventionalized grapes, the flanking ones terminating in a grape leaf and volute.
Sketchbook Page: Peacock Feathers
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Peacock feathers with colors notations. Sketch of cow's horn, upper left.
Model of a River Boat
, 2000–1700 BC
wood, paint
funerary art

Boat (a) with upward curving bow and stern, and flat-bottomed center. Eight pairs of oarsmen, dressed in white loin cloths, seated on square blocks. Pilot standing in bow. Helmsman and mast missing. Separate, long steering oar (b) with blade rounded at end; undecorated.
Textile
, 17th century
linen, cotton Technique: two interconnected structures

Large allover design with French royal crown and heraldic lilies in light green on off-white ground.
Hope from the loggia at St. Peter's
Giuseppe Lironi, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Giuseppe Lironi of Hope, located in the loggia at St. Peter's. The statue is of a standing figure in long, flowing robes holding a scepter in the right hand and a small object in the right. Body is angled to the left, including right knee which is bent in that direction.
Portrait of Jan van der Wouwer, from the Icones Principum Virorum
Paulus Pontius, Flemish, 1603 - 1658, 1660
Etching on paper in black ink
Print

A half-length portrait in three-quarter view turned to left. The sitter, at the age of 58, is with bare head, around his shoulders is fur-collared coat. In his left hand, he holds papers.
Darning sampler
, 1843
silk embroidery on cotton foundation Technique: embroidered in running stitches on plain weave foundation

Eleven squares of pattern darning, one inset corner, an inset patch in the center with crowned initials and date.
Patchwork
, 19th century
cotton Technique: patchwork of printed fabric

Piece of patchwork consisting of alternating patches made from two different fabrics, about 4 inches square. One fabric has flowers in red, dark brown and violet with black outlines for stems on a white ground. The other fabric has two shades of violet-brown in vertical stripes with a tiny flower head design reserved in white. Cotton is coarse and heavy.
Pitching Quoits (Part of a Panorama)
Robert Pollard, English, 1755 - 1838, 1823
Etching on paper
Print

A group of men are seen engaged in a game of quoits. In the background, an inn and pillory. Below, publisher's name and the date.
A Nice Game for Two or More (Proof)
John Leech, English, 1817 - 1864, 1865
Chromolithograph on paper, mounted on heavy paper
Chromolithograph

Ten people in a garden playing croquet. One woman with her foot on a ball, about to hit it, left. Title and commentary, artist's and publisher's names and date below.
Sidewall
, ca. 1910
Block-printed paper

Scrolling, stylized floral and foliate motifs. Printed in yellow, ocher and red on ocher ground.
Sampler
Alice Pearlee, American, b. 1745, 1759
silk embroidery on linen foundation Technique: embroidered on plain weave foundation

Bands of alphabets are followed by floral vine borders and the inscription: 
Alice Pearlee Born September (?) 1745  This sampler I wrought the year 1759
Goodness and mercy ever follow those who share there ...(?) by God's holy laws

The lower section shows a basket of flowers flanked by trees, deer and other animals.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Small fragment of cut and uncut orange velvet in a white ground shot with metallic threads. Pattern has small leafy sprigs.
Calm Shoreline with Dramatic Billowing Clouds
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Shoreline with calm ocean. In sky, large dramatic clouds at right.
St. Paul's Cathedral, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

View of interior of St. Paul's Cathedral, through a series of arches, across the nave. Sightseers look at statues. Title, artists', and publisher's names below.
Fragment
, 1500–1550
linen Technique: bobbin lace, continuous braid-like

Fragment of a band with triangular tab edge and loose floral vine.
Border
, late 16th–early 17th century
linen Technique: grid of laid cords with needle lace, reticella style

Wide border of two rows of squares filled with geometrically balanced floral shapes.
Undulating Bush Clover, Flowers and Stripes
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Bush clover and various flowers undulate in a wave pattern. Alternating between the floral design are stripes of various gradation. This linear pattern is popular in autumn.
beaker
, ca. 1827
glass

Beaker-shaped body, flared towards top, flared base; cut with wide flutes bottom, a projecting hatched ring above, bands of flutes and strawberry diamonds above that, at top a wide band of swags engraved with an inscrip- tion, strawberry diamonds and fine diamonds above; rayed flutes on bottom.
Pipe bowls [3]
, 19th century
clay

Three red pipe bowls with molded decoration on exterior walls. Originally part of a set of 16 objects accession numbered: 1951-185-33-a/p - see records for 1951-185-33-a/h and 1951-185-33-l/p which are deaccessioned.
caster
Albertus Kiell, 1875–1900
earthenware, glaze

6-footed scroll base, stem formed by 3 twisted dolphins; 3-sided shell- shaped body; twisted, cap-shaped top with pierced holes, surmounted by small spiral finial; painted in underglaze blue on white with dolphins on stem, man with violin on one side panel, floral and leaf motifs top section
Footed Dish from the Service Rousseau
Felix Bracquemond, France, 1833 – 1914, ca. 1867
enameled earthenware
footed bowl

Footed bowl with flower, fish, and grasshopper on white ground, bordered by blue.
Bed hanging
, 1730–70
silk, metal-wrapped silk-core threads Technique: embroidery in satin and couching stitches on plain weave foundation

Bed hangings of heavy white silk, embroidered in gold thread, gold foil strips, and colored silks.  Each panel is made up of two breadths of fabric seamed down the center and is lined in white silk plain weave. The design is arranged so that golden rococo curves meet at the center seam to form a symmetrical v-shaped pattern, with flowering branches and birds, worked in satin stitch in colored silks. While the flowers are symmetrical, the birds are vertically off-set; each panel shows eleven birds, all different, which appear to be taken from a set of ornithological prints by Xaviero Manetti.  Metallic effects in several textures are created with couched crimped gold lamella and couched foil-wrapped silk-core threads.
King of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

King of Diamonds court playing card from a pack of transformation playing cards. Figure of a man wearing courtly costume with an elaborate crown and cape, a dagger at his hip and a scepter in his hand. Architectural buildings in the distance. At upper left corner, a red diamond topped by a crown.
Sidewall
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

On striped ground in beige and white, with green textured trellis, bouquets of pink and white flowers in vases with gold rinceaux.
Sampler
Rindelite Brougers, 1769
silk embroidery on cotton foundation Technique: embroidered in running (pattern darning), stem and eyelet stitches on plain weave foundation

Fourteen darning crosses and one darning corner.  Name, date, and crown in center.
Textile
, 18th century
cotton Technique: mordant for 2 reds and black applied by pen and brush; madder dyed; blue applied over resist; yellow applied over blue for green; chintz on plain weave

Design of vines and flowers. The outer parts of the design are vertically symmetrical; the central motifs are not. Indian adaption of a European woven fabric.
Sampler
, late 18th–early 19th century
linen embroidery on linen foundation Technique: embroidered with drawnwork on plain weave

Rectangle of fine linen divided by chain stitch into thirty-five small squares, inside each of which a variety of drawnwork and darning methods are worked in white linen.
Fork-Tailed Blue-Vented Bee-Eater, Plate 10 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

Bird in a tropical swamp. He has a blue-gray forked tail, blue and green body, a yellow throat and brown wings. Title and artists' names below.
West Country Mails at the Gloucester Coffee House, Piccadilly
Charles Rosenberg, 1828
Engraving, aquatint, brush and watercolor on paper
Print

Crowded street, before three buildings. Gloucester Coffee House, left; hat maker center, miller and fish salesman, right. Many carts and carriages in the street. Title, artist's and publisher's names and date below.
Silver ankle bracelet
, 18th century
Chased silver
Bracelet

Silver bracelet, chased
Sidewall and border
, ca. 1880
Machine-printed

a) Sidewall: pink flowers and foliage in shades of blue over cream ground; b) floral border in same colors.
Shoreline with Trees in Wind and Distant Boats
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Shoreline with stand of trees blowing in the wind at left, and ocean coming onshore at right. On horizon at center, two small boats in distance.
Waistcoat
, 1780–95
silk Technique: chain stitch embroidery made with a tambour hook in twenty-four colors of silk, on silk plain weave

Brown silk waistcoat with a standing collar and welt pockets. Embroidered on center front and lower edges with floral motifs and a chinoiserie design of Chinese figures in dragon boats.
Grillage pose a la Chapelle de Monseigr le Cardinal de Lorraine fondateur de l’Insigne Eglise Primatiale de Lorraine; et un pareil à celle de Mr de Bouzey Grand Doyen de la même Eglise Primatiale de Nancy.
Jean Lamour, French, 1698–1771, 1759
Etching and engraving on laid paper
Print

Folded plate depicting the wrought-iron gates from the chapel of the Cardinal of Lorraine in Nancy. Decorated in rococo ornament and motifs, acanthus leaves, palmettes, shells, fleurons, leaves, scrolls, and flowers. The central gates are arched, and topped with a coat of arms, with several tassels on either side and a cross at the very top. The description is lettered below with a scale, the plate is signed and dated.
Jews at the Wailing Wall, Jerusalem
Frederic Edwin Church, American, 1826–1900, April 1868
Graphite on gray-green wove paper
Drawing

Figure sketches showing multiple views of Jewish worshippers at the Wailing Wall in Jerusalem. At upper left, an elderly woman with glasses holds a book in front of her as she stands before the immense blocks of the Wailing Wall. Below her and beside her are three sketches of other individuals--two women and one man. The man is shown frontally with a long beard and a cap. At lower left, a view of a standing individual's two shoeless feet, and their discarded shoes, is included (removal of shoes was once an obligatory custom at the Wailing Wall, but is now optional). Finally, at lower right, a figure kneeling by the lower blocks of the Wall is viewed from behind.
Andiron (Firedog) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for an andiron (firedog) in the form of a winged putto holding a flaming torch riding a sphynx with scrolling leaves (rinceaux), snake, leaves and running patterns. The plate is numbered and signed.
Sketch, A Centerpiece or "Desser" Celebrating Napoleon's Victories
Giuseppe Barberi, Italian, 1746–1809, ca. 1801–1805
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Bordered by balustrades with statues. Steps in the middles of the sides. The circular temple of Immortality, "tempio della Inmortalità" and S. Bernardo"; triumphal arches referring to the victories in Italy and France, "archo di trionfo / fatto in Italia" and "altro fatto in / francia"; monumental columns, "Margeno" and "Osteiche" (meaning Osterreich, or Austria).
Flower Branch, from "Fleures Persannes"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1765
Etching on paper
Print

A flower branch, the larger blossoms of which have three flame-shaped petals with turned up edges and similar smaller petals inside these.