biglam/cooper-hewitt-alt-text huggingface dataset:
Cartoon for Cotton Printing: "Les Quatre Saisons"
B. M. Lebert, 1759–1836, 1815–20
Pen and brown ink, brush and grey wash, on cream paper, pieced; squared in graphite for transfer
Drawing

Bacchus, seated on a donkey and attended by wood-nymphs, approaches an altar at which Silenus is making a sacrifice and about which a drunken revel is taking place (symbolizing Autumn); In the lower right, Chronos warms himself at a fire before the entrance to an ice-covered cave, and is accompanied by another figure, while in the distance towards the left, a feast is seen taking place (symbolizing Winter).
Textile
Hartmann et Fils, Munster, France, 1840s
cotton Technique: roller printed on plain weave

Length of printed cotton in shades of mauve to light brown. Putti-like figures with moth wings are surrounded by large flower clusters. Figures hold up mirrors that catch rays of light, reflecting them overhead.
Printing block
, mid-18th–mid-19th century
wood, metal

Circular design with a symmetrical arrangement of small floral motifs bordered by lines.
Design for Front and Spine of Bookbinding for "Spanish Vistas" by George Parsons Lathrop
Francis Augustus Lathrop, American, 1849–1909, 1882–83
Black chalk on paper
Drawing

Sketch for the front and the spine of a bookbinding for "Spanish Vistas" by George Parsons Lathrop. A slight sketch for the spine is in the center, the front cover, at right, showing the Royal Spanish coat-of-arms and the lettering. Verso: Study of Female Nude Kneeling, ca. 1880-1883. Figure shown in profile, turned to right, the hands not shown. The head is turned toward the right shoulder.
Fragment
, 3rd–4th century
wool Technique: weft 2-1 twill

Somewhat loose, irregular weft in undyed wool (tightly S-spun warps; untwisted wefts).
Fragment
, 17th century
medium; silk, linen (?) Technique: combination of two structures

Ogival pattern in blue, yellow and white.
Four Incenseures
, ca. 1820
Pen and brown ink, blue-gray wash, graphite Support: white wove paper
Drawing

Horizontal Format. Two with additional spouts. The two innermost with floral ornament, the left with cherubim, the right with angels emerging from flower cups. RB '45
Salesman's sample
, early 19th century
silk Technique: embroidery and applique on woven satin foundation

Small panel of blue-green satin with border design embroidered with white, blue, yellow and orchid silks; green, white and orchid chenille; with white satin and net appliqué. Pattern of wisteria and large pointed leaves with lower bands of arabesques.
The Steps, British Museum
Joseph Pennell, American, active England, 1857–1926, 1904
Etching on paper
Print

Horizontal rectangle. The portico is seen frontally, and the steps are at right angles, right foreground. Numerous figures in the middle distance.
Border
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Narrow border of fine bobbin lace has a scrolling vine pattern with areas of ornamental ground.
Figures in a Sleigh
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, ca. 1750
Engraving on paper
Print

A sleigh drawn by two horses is seen from the left. Behind, another horse, in postillion, follows.
Vase of Flowers
Pieter I. Mortier, Amsterdam, Netherlands, 1680
Etching, engraving
Print

Vertical format. In a Vase decorated by a garland of fruit, are day lilies, carnations, and delphinium.
The Last Judgment
Frederick de Wit, Dutch, active 1725 - 1775, ca. 1650
Engraving on paper
Print

Christ, with God the Father and the Dove of the Spirit are enthroned on clouds, while the Saints and Apostles are ranged at either side. Below, angels with trumpets and the elect and damned.
The Sleighing Season – The Upset
Winslow Homer, American, 1836–1910, January 14, 1860
Wood engraving in black ink on paper
Print

Horizontal composition with upper corners rounded. Snowy scene showing three riders being thrown from a sleigh. Additional horse-drawn sleighs in the background.  A sign in the distance, at left, reads: St. Nicholas.
Pane
, ca. 1880
Pressed glass

Purple. On a rough surface, from a beaded scroll in one corner radiate four serrated leave disposed irregularly about three daisies.
Fragment
, 17th century
linen, wool Technique: supplementary weft in plain weave foundation

red and green wool flowers on a linen background.
Palazzo Milzetti, Faenza;
, 1802–05
Pen and brown ink, brown wash, over black chalk on white laid paper
Drawing

Ceiling Design: Numa Pompilius Consecrating the Vestal Virgins??? Standing beside statue of Vesta, Numa holds a tablet with left hand and points at an altar, addressing a kneeling Vesta who is spoken to by another; others stand in left rear. Setting is a domed circular temple.
Fragment
, early 18th century
silk Technique: satin weave with supplementary weft floats (brocaded)

White satin ground with symmetrical design of flowers between curving borders of lace and foliage. Red predominating with green, yellow and blue. Two yellow selvages.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1820-1830
Pen, brush, bistre, grey water color. Paper

Vertical rectangle. Scrollwork frame, with a cherub, above, in the center, obliquely shown, and with a fantastical animal's head in the center, below. Laterally are drapery festoons.
Ewer
, 18th–19th century
Pewter

Domed foot with irregularly hammered flange (probably the lid of a coffee pot originally); body in two parts, the lower bowl-shaped, the upper flaring and having a shell and scroll relief around the irregular edge. Double-scrolled foliated handle.
Fragment
, 17th century
linen (ivory), silk (lt. rust, tan/ivory), wool (red, green) Technique: plain weave (linen) with supplementary warp (silk) and supplementary wefts (red, green)

Small ogives framing alternately red and green palmettes.
Design for a Ceiling
Luzio Romano, Italian, active 1528 – 1575, 1550–75
Pen and brown ink, brown wash, black chalk
Drawing

Framed by two ink lines and a strip of gold paper ???
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground divided into diamond shapes by broad bands of solid tan, intersected by brown and white stripes. Each diamond shape frames a floral spray of roses printed in pink, red, blue-green and lavendar.
Textile
, 1800–1850
cotton Technique: block printed on plain weave

Naturalistic flower sprays of roses, poppies, etc.; block-printed in red, drab, blue and faded yellow, on aubergine background, probably put in with roller.
Embroidered picture
, late 18th century
silk Technique: satin weave, embroidered with silk floss and hand-painted

Landscape showing a stream with rocks, trees, grass and a bridge; two women fishing, one wading in the stream. In a border of blue satin with urns, vines, birds in oval medallions, scrolls, etc.
Panel
, ca. 1880
Glass

Blue. Amid scrolled foliations, a sparrow rides on outspread wing.
Band
, ca. 1600
linen Technique: grid of laid cord with needle lace, reticella style

Single band, containing boats and mythological sea creatures, with attached border composed of heart-shaped forms. Attached border design taken from pattern book by PARASQLE  in 1597.
Textile fragment
, mid-19th century
cotton Technique: printed on plain weave

Red stripe ornamented with medallion and white stripes ornamented with scrolling design of Near-Eastern type. Red, green, black, and tan.
Cooper Union Museum Lace Study Card
, 17th century
linen Technique: needle lace
Fragment

Venetian point in low relief with various needlemade stitches and picots. Design of scrolling stem with leaves and flowers.
Band
, 17th century
linen Technique: lace of early premade tape with needlework fillings and needle work ground

The tape is bobbin made and the fillings are needle work with needle work ground..
Ribbon
, late 19th century
silk, cotton Technique: plain weave

Neutral-colored ribbon with pink and green scroll design.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. The recto and verso continue the description of the decorations for the masked ball given at the Hôtel de Ville on February 26, 1745, to celebrate the marriage of Louis Dauphin with Maria Teresa of Spain.
Page of Text, Printed on Recto and Verso
Marie F. Lattré, French, active eighteenth century, 1751
Engraving on laid paper
Bound print

Page of text with elaborate border decoration, printed on recto and verso. At the top of the border are the coats of arms of the Bourbon family of France and of Maria Teresa of Spain, surrounded by French lilies. At the bottom is a ship. The text on the recto introduces the production of the celebrations in honor of the marriage of Louis Dauphin and Maria Teresa; the text on the verso begins the description of the celebrations given on the first day, February 23, 1745.
Design for Breakfast Table "A" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Round molded top raised on cylindrical base supported by 4 splayed legs on brass feet with casters.
Egg cup
, ca. 1770
Gilded tin-glazed earthenware

Two handled cup with two round openings at top. Decorated with scenes of ruins, flowers and gilding. Cover decorated with scenes of ruins and a floral finial.
Nouveau Livre de Desseins Inventé et Dessiné par Jean Tijou
Jean Tijou, French, active 1689 - 1712, 1693
Album

Album containing a series/book of ironwork designs by Jean Tijou, including screens/grilles, balustrades, gates, escutcheons (key plates), and key heads. Several of the designs for gates, screens, and balustrades were made and installed in Country houses and palaces in England, including Hampton Court Palace (named on the title page), Wimpole Hall, Cambridgeshire, Chatsworth House, Derbyshire, and Burghley House, Cambridgeshire. The album includes a title page and plates numbered 2 to 20. The plates are signed and numbered.
Battle scenes
, ca. 1805
cotton Technique: printed by engraved roller on plain weave.
Textile

Battle scenes in Algeria (?) with a large ship being blown up dominating the center.
Sampler
Anna Maria Blagg, English, 1804
silk, linen Technique: cross stitch embroidery on plain weave foundation

Finely worked in colored silks on bolting cloth.  Three sections with flower urn, insects and animals, Adam and Eve, verses, running vine border.
Sample
, ca. 1910
cardboard, linen Technique: embroidered on dissolvable substrate (chemical lace), mounted on cardboard Label: linen embroidered on dissolvable substrate, mounted on cardboard

Sample of burn-out or chemical lace mounted on board. In ink, Plauen or burnt-out lace Presented by Forbes and Wallace. Overall stylized floral with curving vine.
Design for a six Plain-legged Dining Table of Mahogany
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Round molded top with a dividing stretcher running across center, is raised on six plain slightly tapering legs, one pair on either side and one pair at center.  Vase with a flower bouquet on a napkin is at center.
The Mausoleum for Czar Paul I (1754-1801) in the Park of Pavlovsk, near Saint Petersburg, Russia: Side Elevation
Thomas de Thomon (Jean-François Thomas), French, active in Russia, 1759–1813, 1805
Pen and black ink, brush and gray wash, green and brown watercolor, trace of black chalk on cream laid paper, ruled borders in pen and black ink
Drawing

A side of a building with five Doric pilasters, portico, and one Doric column.  A Doric frieze contains metopes of masks and vases. At right and left corners of the base supporting the building are two urns, each entwined by a snake.  At left, a tree grows on a boulder near a path; at right - an abundance of trees and foliage. Czar Paul I (r. 1796-1801) was assassinated in March 1801.  His widow, the Empress Maria Feodorovna, commissioned this mausoleum from Thomas de Thomon, a French architect working in St. Petersburg between 1799 and 1813.  The building still stands today on the grounds of Pavlovsk Palace.
Album of Prints: Different Works by LaLonde, Decorator and Designer, Part II, as well as works by Henri Sallembier
Richard de Lalonde, French, active 1780–96, ca. 1780
Album

Album of prints containing the second volume of works by Richard de Lalonde as well as two cahiers of ornament by Henri Sallembier.
Ocean View with Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View from beach of waves coming up on shore, right foreground back towards left.
Design for a Printed Textile: Floral Border with Islands on a Lake
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Pen and black ink, brush and watercolor, graphite on blue laid paper
Drawing

Flowered border enclosing small islands with buildings and violet trees.
Costaguti coat of arms and part of a female figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Escutcheon in the center and below, a female figure from the waist up. She is turned away and extends her arms up. A name is written below the escutcheon.
Border
, late 18th century
Medum: cotton Technique: block printed (2 reds, 2 purples, black), yellow and blue applied by brush, plain weave foundation

Curving vine with flowers and fruit in bright colors on a deep purple background.
Figure with fronds and putto
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figure holding fronds accompanied by a putto. They both seem to be floating or flying. The figure holds the fronds in his left hand and extends his right behind him, and looks back toward the putto.
Schlesinger and Mayer Department Store
Louis Henry Sullivan, American, 1856–1924, 1903–1904
Cast iron
Balustrade Panels

Balustrade panel from an interior stairway. Stylized leaves and berries form a symmetrical arrangement.
Fragment
, mid- 18th century
natural linen Technique: needle lace, 6-sided reworked ground

Fragment of a band with "bizarre-style" scrolling forms.
Border fragment
, 16th century
linen, silk, metal-wrapped silk Technique: silk embroidery using back and montenegrin cross stitch; metal thread embroidery using chain, detached buttonhole or looping (sometimes padded), satin, overcast loops, and whipped stem stitches on plain weave

Border fragment of natural linen embroidered in gold, silver and colored silks, mainly red and green. Design shows a symmetrical arrangement of curving vines and flowers with two wyverns confronted. Between the wyverns is a small eagle with wings spread and head in profile. Within a frame made by the vine tendrils is a ring-like shape with the cypher "SN" or "CN." Much of the gold is laid down over the colored silk producing a luminous quality.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Art Nouveau style. Whiplash lines undulate and loop across the center of the frieze. The bottom contains flowers, alternating between a singular flower and groups of three. The top contains a wavy band of vining foliage. Printed in shades of green, burgundy and metallic gold.
Bandbox
William Campbell, ca. 1830
Block-printed paper, lithograph, pasteboard support

a) Oval box covered on one side with wallpaper printed in blue with orange outlines, in a bisymmetrical design; on back, a woman's hat printed in black, with legend: Wm Campbell's New York Patent Mould Band Box Manufactory, No. 297 Pearl Street, N.Y.; b) Cover, with matching wallpaper on top, and vari-colored paper on edge.
Snuff Box
, ca. 1750
Tortoiseshell, gold
box

Irregularly octagonal, with hinged cover; blonde tortoiseshell, with molded edges and raised panel on cover; decorated in gold piqué work; on cover, within a double border of strapwork and scrolled cartouches filled with diaper pattern in piqué pint, figures of Diana with hound, Venus with Cupid and two seated figures with staffs, in piqué posé; on bottom , in same technique, Cupid beneath a tree, with bow and quiver, holding a heart, a mask at his feet; details of flowers, birds and insects in piqué point; above, traces of a scroll, probably originally with inscription.
Border
, 1790–1810
Block printed on handmade paper

Wide upper band containing ribbon intertwined with vining foliage. Bottom band has lacy look - with central band of vining floral between two edge bands on vining foliage. Bands of beading above and below this bottom band. Printed in white, gray and black on green ground.

H# 525A
Sidewall
, 1890–1920
Machine-printed and embossed

Diaper pattern, yellow-green vining floral and scrolls printed on olive-green ground.
Wall Elevation
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and blue and yellow washes on wove paper
Drawing

Side wall with paneled door center, marble pilasters either side, window far right, statue in a niche at left.
Evening Dress
Rudolph Ackermann, English, b. Germany, 1764–1834, 1819
Engraving, brush and watercolor on paper
Print

Fashion plate of a woman playing a small harp; a dog by her side. She wears a white dress and hat, with pink trim and yellow and green flowers. Title below.
Sidewall
, 1850–99
Machine-printed, embossed paper

Floral stripe: vertical vines separated by metallic gold vertical guilloche, on ground of white paper with embossed horizontal pin stripes.
Ladies' Fashion: Hairdressing and Hats
Johann August Rossmassler, German, 1752 - 1783, ca. 1770-1780
Engraving on paper
Print

Illustration of groups of four heads showing hairdressing and hats worn by French, German, and English ladies.
Fragment
, ca. 1800
cotton Technique: block printed and painted (by brush) on plain weave

Non-directional pattern of small flowers surrounded by tiny leaves on a black background.
Architectural Details at Bourges
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown-gray paper
Drawing

Chimneys and relief patterns on columns of the Cathedral.
Niagara River
D. Friend, American, ca. 1857
Color lithograph
Print

Horizontal rectangle.
Sidewall - sample
, 1907–08
Machine-printed on paper

Over-all vermicelli pattern created by cross-hatch lines, overprinted by broad vertical striped ribbons. Printed in beige, ochre and brown.
Sidewall
, 1810–30
Block printed on handmade paper

Repeating motif of foliage with flower. Printed in green, white, black on gray.
Vessel
, 500–1000
Earthenware, slip

Globular body with wide, flaring rim. At front, the face of an owl, with large eyes, a long beak and small ears. Rounded foot. Traces of slip decoration.
Russia, Ace 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

Russia, Ace of Spades from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Sketchbook Page: Meadow Lily
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Sketch of a meadow lily, with trumpet-like flower heads shown from different angles.  
Verso: Sketch of the leaves and vine of a morning glory.
Sketchbook Page: Sketches of Flowers and Leaves
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Two sketches, each with three groups of flowers split from a single stem.
Verso: Sketches of leaves, with flower above.
Sketchbook Page: Leaf from Vine
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Recto: Study of a five-pronged leaf. 
Verso: Five studies of arrow-shaped leaves.
Emperor Napoleon III
, ca. 1870
Copper, metal
Matchsafe

Circular, in the shape of a five Franc coin, with raised decoration of the Emperor in profile with laurel wreath on his head, inscribed on perimeter "Napoleon III, Empereur," "Barre" inscribed below, reverse features coat-of-arms, inscribed "Empire Francais, 5F, 1870." Wedge shaped piece swings out of container at top to reveal interior match compartment. Striker attached to side.
figure study for a fountain design
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk, on buff paper
Drawing

Vertical rectangle. The nude figure of a boy, standing, turned toward the right. The arms are uplifted. The boy's left hand incompletely indicated. Suggestion of basin on boy's head. Anatomical drawing of figure, right.
Window shade
, 1875–1900
Machine-printed

Ogival framework with inset rounded corners. Band of strung red flowers runs inside framework. Printed in red, white, tan, brown and black on green ground.
Frieze
, 1905–1915
Machine-printed paper

A repeating design of cameo medallions hung by floral swags below which is hung drapery all below a complementary border in bronze, upon a beige ground with an overlay of a tiny geometric pattern in gray and a more distinct one in brown. Printed in beige, cream, white, tan, gray, brown, bronze and gold.
Vues d'Italie
, 1810–15
Block-printed on handmade paper
Scenic

Two panels from scenic wallpaper. View includes figures, trees, figures in foreground and architectural buldings.
Church on a Hill
Arnold William Brunner, American, 1857–1925, 1892
Graphite, brush and watercolor on paper
Drawing

A large church on the crest of a hill, with numerous small buildings and vegetation below.
Sketchbook Page: Man with Beard
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Portrait of man with beard. Recto: Sitter turned slightly to the right. Verso: Sitter facing frontally.
Sketchbook Page: Landscape
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of landscape continued from opposite page.
Verso: Poem titled Sea Lullaby.
Design for a Painted Porcelain Serving Vessel, Les Sorbets (Sorbets) from the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on blue-gray paper
Drawing

Design for a painted porcelain plate or serving vessel, rondel. Scene in mountains of Central Asia.  A man, left center foreground, shovels ice into a bucket which is suspended from the back of a donkey held by a woman attendant.  Another man in a crouching position, left foreground, gathers a tray of ice with his right hand. Two people lead a donkey down the mountain side, right middleground.
Devotional picure of St. Leander, Archbishop of Seville
, 1750–1770
Engraving and brush and watercolor on vellum
Print

Within framing lines and a floral cartouche is the figure of the bishop, shown seated, in act of blessing. Descriptive ribbon reads: "Sn Leandro Arzbpo de Sevilla," and the ribbon meandering through cartouche reads: "Alle Lvia" three times.
Sketch of Landscape and Staircase
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Left, canoe and sailboats off rocks, two people canoeing. Right, view of staircase from doorframe.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Border fragment of dark green cut and uncut pile on a silver ground. Symmetrical foliage and palmette pattern, and narrow borders in a vine design.
Komon and Kimekomi Balls
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
katagami

Komon dotted stripes are accompanied by kimekomi balls, which are Japanese traditional wooden balls decorated with various fabrics to produce ornate designs.
Sketchbook Page: Ye Ghost (Self-Portrait)
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist, collar open, holding a book in his right hand.
Textile
, 19th century
cotton Technique: plain weave, indigo dyed, resist applied with stencil (katazome)

Flowers with leaves and tendrils in white on blue ground.
Salt stand
, ca. 1820
Glass

Round body on short foot; lip turned-in and cut with fluting, sides cut with 6 panels of diamonds. Stand is shallow dish with wide lip cut with flutes, rayed flutes cut on bottom.
Miser's purse
, early 19th century
silk, metal Technique: crocheted

Crocheted mauve silk ornamented with cut steel beads in geometric pattern. Two round steel rings control the side opening. Small steel drops at each end.