biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Chimneypiece
, 1780–1800
Pen and ink, brush and watercolor on paper
Drawing

The alternative suggestions refer to a different form of the cornices of the entablature, to a different decoration of most moldings, to the use of a red st one, at right, a yellow marble at left. The inner frame consists of some moldings upon bases. The outer one of projecting stripes in horizontal angular form upon bases. They are framed by moldings and decorated inside by rinceaux with blossoms in the spirals. They spring from a calyx, above in the center. Shadow, base line, and plans similar to those in 1938-88-8205. Scale, framing lines as in 1938-88-8201 "No. 2" and "No. 3" are written below at left and right, respectively, in pen and brown ink. Indication of scale in English feet.
Fork and Knife with Porcelain Handles
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th century
hard paste porcelain, vitreous enamel, nickel, steel
fork and knife

knife (a): Slightly curving blade, tapering tubular blue and white porcelain handle decorated with stylized blue flowers and sprigs on a white ground.
fork (b): Three tine steel fork, tapering tubular porcelain handle painted with stylized blue flowers and sprigs on a white ground.
Sidewall
, 1890–1900
Machine-printed, embossed paper, mica finish

Olive ground with conventional design in lighter tone and gilt. Mica finish. Printed on embossed paper.
Sunset over the Hudson Valley
Frederic Edwin Church, American, 1826–1900, December 1866
Brush and oil, graphite on cream paperboard
Drawing

Landscape sketch showing a view of a dramatic sunset over the Hudson River Valley, looking south from the artist's estate near Hudson, New York, known as Olana. Immense, orange-yellow crepuscular rays dominate the sky, punctuated by blue-green streaks through which the dim sky and a crescent moon are visible. The Catskill front range, also known as the Catskill Escarpment, is visible in the background at right, with the peaks of Overlook and Plattekill Mountains prominently featured.
Commode à la Chancelière
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a dresser raised up on legs. The dresser has a curved form that is one with the legs. The dresser has gilt motifs including leaves, a mascaron, crossed branches, and a rosette. The plate is signed.
Chanceliere
Laurent Desboeufs de Saint-Laurent, French, active 1763 – 1776, 1772–77
Etching and engraving on paper
Print

A design for the upper section of wrought-iron gates and grilles with an ornamental gate crown featuring a blank coat of arms with two ovals on a draped textile, topped with a crown and two scepters. The gates feature wave patterns, acanthus leaves, ovals, rosettes, fleurons, and scrolling leaves. The plate is titled, numbered, and signed, with a scale above.
Two Victories in Roundels
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink, brush with brownish grey wash on rough laid paper
Drawing

Vertical rectangle top: circular medallion with Victory in chariot, directed toward left.  Bottom: ovoidal medallion with two female genii raising wreaths above, panoply. Caption above top medallion, "Vittorie;" and bottom medallion "Vittore"

Captions, as in 1901-39-3259: "Vittorie." Verso: part of pen sketch similar to 1901-39-3259.
Creamer
Wedgwood, English, established 1759, late 18th century
Moulded and thrown unglazed stoneware (Black Basalt)

Slightly swelling form, short spout, long loop handle; sides with basket-weave texture.
Design for a Woven or Embroidered Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and white gouache on glazed tracing paper
Drawing

Three rows of leaves which are paralleled to the scalloped edge at the bottom. A bough with a fantastical blossom and a bird rises in a curve in each hollow.
Design for an Overdoor
Piat Joseph Sauvage, French, 1744 - 1818, 1785-1790
Pen and ink, brush and sepia washes
drawing

Two seated girls flank an oval medallion, which is surrounded by boughs.
Pendant
, ca. 1850
Coral, gold

Design of a branch with fruit and leaves in pink coral, mounted on gold, with a gold ring at the top.
Button
, 19th century
Copper, brass

Convex button in the design of a crown on which is a crowned lion sitting between crowns. Back and shank are brass.

On card E
Decorative door boss and nail
, 16th century
Wrought iron

Square mount shaped and pierced to form trefoil raised leaf design in each of four quadrants. Large central nail with round head and round molded collar on square shank. Four smaller nails at corners.
Falls of Artists' Brook, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, 1854
Graphite on paper
Drawing

Boulder ledges, with narrow waterfall at center. Boulders below in foreground. Birch trees above, and lower right.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

Cup-shaped vase supported by goats, standing on a pedestal ornamented with acanthus leaves. The vase has twisted scalloping from the middle of the form to the rim. The lower half of the vase body is decorated with a fish-scale pattern and a garland that drapes from the center of the vase, over the horns of the goats, and around their bellies. The plate is lettered and numbered.
Purse
, 18th century
silk and straw embroidery on silk foundation Technique: embroidered on satin weave

Off-white satin ornamented with flowers and scrolls embroidered in colored silks and straw.
Ocean View near Kingston, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of nearby topography, a portion of the Palisadoes, and the ocean beyond from a hill near Kingston, Jamaica (in the vicinity of Long Hill or Constitution Hill, east of Kingston). Immediate foreground hillside green and wooded, while those beyond are brown and rugged. A portion of the Palisadoes is visible just beyond the hills. Blue and aquamarine of the ocean comprises the  remainder of the drawing, along with some low, puffy clouds.
Stage Design: Palace Architecture
, early 18th century
Pen and bistre, brush and sepia wash on paper
Drawing

Vertical rectangle showing an exterior architectural space.  A palace wall is topped with a balustrade and six sculptures. At center, below a coat-of-arms, cracked stairs lead to an archway.
In a Village
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1850
Graphite, brush and reddish-brown watercolor, brush and white gouache on paper
Drawing

A road, running from the left background, passes an estate, part of which is shown. A spinning woman sits in front of a dwelling. A circular tower rises above trees.
Arabesque Ornament Design
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1788
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring neo-classical grotesque motifs, scrolling acanthus leaves, portrait roundels, fleurons, putti, ribbons and floral festoons, rosettes, and lions. The plate is numbered and signed.
Study of Samuel F. B. Morse for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Man sitting in a chair turned slightly to the left. His right arm up and pointing, his left hand on his knee.
Camel and Figure Studies, Palestine or Syria
Frederic Edwin Church, American, 1826–1900, February 22, 1868
Graphite on white wove paper; verso: graphite
Drawing

Camel and figure studies in present-day Jordan or Israel. At right, a seated camel wearing a saddle and yoke is rendered in some detail and viewed obliquely. At lower left and oppositely oriented, are two views of a Bedouin guide with a long spear mounted on a camel.

Verso: Mixed camel studies of a dromedary mounted by a figure sitting sideways, shown in profile at lower center, and a sketch of a tassled saddlebag above at center.
Sample
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk, metallic thread Technique: compound satin weave

Reproduction textile inspired by a French eighteenth century example in the Cooper Union Museum collection. Design has figures in Chinese costume fishing in a small boat with water lilies and other plants on a blue ground.
Textile
F. Schumacher & Co., New York, NY, USA, founded 1889, ca. 1907
silk Technique: damask, 7&1 satin

Symmetrical design of flowers and large curving leaves in bright red.
Cap
, 18th–19th century
silk, linen, metallic thread Technique: embroidered

Cap with metallic embroidery on red velvet with a symmetrical plant motif, confronted birds and a double-headed eagle in the center of the crown. Simple floral vine pattern on the brim. Brim very broad in the front and narrow in the back. Inside lined with printed linen, possibly from the first half of the eighteenth century, in a brown and blue floral pattern on a red ground.
Towel
, 16th–18th century
linen, cotton Technique: plain weave with continuous supplementary weft; bird's eye twill weave

Perugia-type towel with bands of blue patterning at each end of a white field. Pattern bands, same at both ends starting from the bottom, have birds separated by trees and confronted lions separated by guard borders of arrow heads.
Tiraz tapestry fragments
, 10th–12th century
linen, silk Technique: tapestry weave

Two fragments of a tapestry woven band with birds and flowers in medallions in polychrome silk. Tapestry weave, single warps, eccentric wefts, slits and double sided. Poor condition with many wefts missing.
Fragment
, 19th century
silk, metallic thread Technique: discontinuous supplementary wefts floating from face to face in a 3/1 twill foundation

Two alternating floral vine pattern stripes, three-quarters of an inch wide, one gold and the other silver on a red-purple background.
Altar cloth
, late 19th century
linen Technique: patchwork of techniques, including needlework on knotted net; bobbin and needle lace

Long rectangular altar cloth of embroidered net squares arranged in two rows. The two alternating motifs are a diamond within a square and a cross within a square. Each square has areas of plain weave cutwork with needle lace fillings and is edged by a band of bobbin lace. Both side and front edges have a band of bobbin lace with knotted tassels in between each scallop.
Flounce
, 1720–30
linen Technique: needle lace

Point de Sédan, with pattern showing a formal arrangement of stylized fruit, flower and leaf motifs in a great variety of stitches and joined by brides picotées.
CON FOUÏ ou femme du palais de l’Empereur de la Chine
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese Woman seated in a landscape. The plate is titled, signed, and numbered.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. Green ground with weft strips of color for floral motif.
b. Light brown ground with weft strips of color for floral motif.
Scènes romaines
Bartolomeo Pinelli, Italian, 1781–1835, ca. 1811
cotton Technique: printed on plain weave
Fragment

Fragment shows round medallion containing a street scene with a figure walking toward a Classical-style archway.  Surrounding the medallion are urns, masks, rabbits, acanthus leaves and drapery. In red and yellow on white ground.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

White cotton decorated with fancy broad stripe in grey, with design (incomplete) of flower clusters in circular foliage framed and white foliage. Center wide srtipe of flowers in shades of brown, borders at each side of brown flower clusters and fancy edge. Ground effect probably by molette.
Sketch of an Angel and Putti
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Angel, upper right, with chin in his left hand, looks out to the right. Putti, center, cavort below him.
Vase
, early 18th century
porcelain

Oviform-shape with small mouth and short neck, concave foot. ''Ko'' type ware with dark crackle on glossy white glaze stopping above foot rim. Underside of foot also glazed.
Dressing gown
, early 18th century
silk Technique: compound weave with supplementary weft patterning (brocaded), chenille

Long, double-breasted man's dressing gown with contrast front edgings, lapels and cuffs.  The robe is of heavy white silk brocaded in the ‘bizarre' style with silk chenille showing large-scale florals in blue, green and coral.  The contrasting silk is a pink floral brocade on a yellow ground. Lined with cotton. Buttons of self-material.
Collar and cuffs
, 19th century
linen Technique: appliqué on net

Sprays of needle lace applied to machine-made net and cut to form a collar and two cuffs.
Textile
, early 19th century
silk, metallic thread Technique: plain weave with supplementary weft and moiré

Magenta moiré with horizontal repeat of a man bending over a bush with large flower and fruit. Man and bush are in colors of tan, green, blue and gold metallic thread. Alternates with floral sprigs in gold metallic thread. Probably used for a cope.
Sketch for Central Figure in the Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Figure standing center, facing slightly to the right, gaze directed upwards. His left arm is around a cross.
Sculptured Frieze with Half-Figure of Winged Boy and Griffon
Felice Giani, Italian, 1758–1823, late 18th century
Black chalk on cream laid paper
Drawing

Horizontal rectangle. The winged half-figure is ending in two rinceaux, upon one of which he stands with his right fore foot. A boy with a pitcher. Above and below framing lines.
secretary
, ca. 1820
paper, glass
Miniature

Paper jewelry boxes with transfer printed front panel.
Woven portrait
Gilbert Stuart, American, 1755–1828, 1893
silk Technique: jacquard woven

Portrait of George Washington after a painting by Gilbert Stuart. Woven in black, gray and beige on a white ground. Facsimile of a signature "G Washington" woven at the bottom.
The Flight Into Egypt: A Night Piece
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1651
Etching on off-white laid paper
Print

Vertical rectangle. A night scene: Joseph, with his lantern, leads the donkey bearing the Virgin. Figures move to left.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Green and light brown velvet in a design of small sprigs of different floral types alternating in rows formed by the voided velvet satin area. The background is formed of cut velvet with dots of uncut velvet areas.
Trimming
, 16th century
silk, metallic thread Technique: woven

Design of saw tooth bands with an open weave forming scalloped borders. In yellow and metallic thread.
Costume Design: A Woman Singer for a Ballet
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. A woman is shown frontally, walking with outstretched hands. Written in the bodice above the waist: "Tochn." Below: "Rigata," in the lower part of the left sleeve: "scornadino," in the skirt: "vn cornadino," on top: "La condotrice per il Ballo."
Soup Tureen
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1745
hard paste porcelain, vitreous enamel
tureen

Flattened globe shape, with gored sides, alternately wide and narrow; Cover domed, similarly gored in eight sections. Decorated with flowers, alternately painted and in relief. Handles composed of vegetables and scrollwork. Cover decorated with scrolls, spices and vegetables in the round; knob formed of an egg.
Painted decoration of a wall
, ca. 1750
Pen, wash; Chinese ink. Paper;
Drawing

Imaginary view of a park from a loggia through a narrow and high opening. Reliefs, candelabra ornaments, vases in the park are represented.
Fragment
, 18th century
linen Technique: block printed on plain weave

Fragment printed in red on white with a design of an allover floral vine.
Fragment
, 17th century
silk Technique: supplementary warp forming raised cut pile in plain weave foundation

Trellis pattern in bright green.
Tureen with Sphinx-Head Handles
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1810
hard paste porcelain, vitreous enamel, gold
tureen

Tureen mounted on pedestal, being attached by brass bolt and nut. Pedestal with triangular foot and circular shaft; bowl of tureen decorated with two sphinx-head handles. Cover crowned with laurel leaves and seeds. Polychrome decoration of flowers and leaves.
Sidewall
, ca. 1700
Leather, stamped, gilded, painted

Diapered field of varnished silver; foliage in green, flowers in green and blue.
Sidewall
, 1840s
Block-printed paper

Landscape views with woman walking along river carrying basket, man carrying pig with a small flock of sheep, market scene, vignetted in a framework of foliage.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1810
h.) paper and textile swatches (fibers not identified)

Component "h" is a page from Ackermann's Repository, December 1810. Page contains printed graphics and four textile swatches.
Jug
, 1849
Glazed stoneware

A highly decorative white jug with detail on the body, spout and handle. The center depicts a knight riding a horse in an outdoor scene.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-bl: Aesthetic pattern of scattered floral motifs styli...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cee: Aesthetic all-over pattern of bunches of wildflowe...
Gardes d'Epées d'or pour les presens du marriage du Roy en 1725 [Gilt Sword Handle in Honor of the King's Marriage in 1725], pl. 52 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-18-a: Designs for six shell-shaped snuffboxes, each with...;     1921-6-212-18-b: Left hilt: knob engraved with rays, center putti m...
Album of Prints from the Encyclopedia, or Dictionary of Sciences, Arts and Trades
J.R. Lucotte, French, 1733 – 1784, 1762
Album

An album of thirteen plates from the Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, depicting metalwork, jewelry, and earthenware pottery. The plates are titled, numbered, and signed.
Les Martyrs de Chateaubriand
, ca. 1840
Printed by engraved roller on cotton plain weave,
Textile

Five scenes of Christian martyrs in Rome. Scenes of a tiger attacking Eudore and Clicoduee at the center. In ocher (color called bistre in French) on white.
Design for floor covering
Cooper Union Art School, about 1895
Pen and ink with blue watercolor on paper
Drawing

Vertical rectangle. Central ground made up of styleized flower forms with equally spaced pointed petals radiating out from a central square. Border composed of flower forms seen in profile in reverse alteration. One-quarter, only, of pattern is shown
The Washington
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze. Large pink and yellow rose swags outlined in gold mica flakes. Ground shades from beige to cream (bottom to top). Printed in greens, yellows, pinks, red, white, and gold mica flakes. Printed in top selvedge: "The Washington Robert Graves Co." pattern number "3926".
Saucer
Spode Ceramic Works, English, established 1776, late 18th–early 19th century
porcelain (possibly bone china), vitreous enamel
saucer

Shallow, curved bowl decorated with polychrome overglaze painting. Scrolled band on edge.
Border
, 1790–1810
Block-printed on paper

Edging top and bottom of center band, a dentelle pattern. Center band contains oval medallions alternating (in the opposite diagonal placement) with stylized leaf clusters. The background is horzontally striped and the medallions contain daisy-like flowers with 8 petals.

H# 498 ?
Wood block
, 1800
Wood and brass

Rectangular block consisting of three layers of wood, of which the upper is carved. Two pairs of large and two pairs of smaller wreaths centering leaves. Double row of small trefoils and dots, in brass, through center, and single row at top and bottom.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

All-over pattern of motif appearing like three interlocked horse shoes along with petite floral motif and dots. Printed in ocher and tan on tan ground.
Border
, mid-18th century
linen Technique: needle lace with 6-sided reworked ground

Band of Point d'Argentan in an open design of floral sprays and birds.
Fashion Plate no. 371 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.
Textile
, 1847
cotton Technique: mordant painted and dyed (chintz); glazed

Length of chintz with small scale design of buildings flanked by guards, temples, groups of people, animals and flowering trees.
Border
, 17th century
linen Technique: bobbin lace, discontinuous tape

Border with a repeat pattern of three large rounded pendants. In each, a central motif is comprised of a siren surmounted by a vase with a rising, foliated spray. Flanking the central motif are birds in flight, animals and peacocks. Each pendant is framed by a border of stylized floral forms.
Border
, early 18th century

Bobbin lace border, floral vine; early 18th century Binche
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Vertical pattern of dark green-brown bands with staggered gold medallions composed of rectangles bearing scrolls and pendants, all connected by floral chains; long gray floral rinceaux.
Pair of cuffs
, 19th century
cotton embroidery on linen foundation, glass beads Technique: embroidered on plain weave

Pair of woven linen cuffs embroidered with cotton and glass beads in an alternating pattern of stripes and leaves in orange and black.
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine printed paper, liquid mica

This frieze features a horizontal repeat of alternating large and small floral arrangements supported by bows and acanthus scrollwork. A small festoon of leaves and a solid stripe borders the bottom edge of the panel, and a small festoon of blossoms and bows hangs below a stripe on the top edge. The design is printed in shades of pink and white, and the background is shaded, fading from pink into beige from the bottom to top of the panel.
Study of a model
Elihu Vedder, American, 1836 – 1923, ca. 1885
Pastel crayon on paper
Drawing

Three sketches of female figure; Above, detail of a bent right arm; Below, details of left and right legs.
Sampler
, 18th century
silk on linen Technique: embroidered on plain weave

Sampler showing a geometric floral vine in red and green silk on linen, with a partial border of  multicoloured chevron.
Frieze
, 1905–1915
Machine-printed paper, liquid mica

Very stylized pod flowers, alternating large and small. Background shades from pink at top to deep red at bottom.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Still life with a fan and a straw-wrapped container with handles.
Limburg
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on gray-green paper
Drawing

A group of steep gabled roofs, with numerous dormer windows, church towers in distance.
Border
, 1800–1850
Block-printed, flocked, gilt

Red flock pattern with shaded highlights imitating tufting, with gilt and yellow buttons. Gilt, yellow and brown lines form both borders.
Panel
, early 17th century
silk, metal-wrapped silk, and metal embroidery on silk foundation Technique: embroidered in satin, chain, knot, stem, and couching stitches on 7&1 satin foundation

Small embroidered panel with two scenes from the Labors of Hercules: in the lower left corner, Hercules with the three-headed dog, and in the lower right corner, Hercules wrestling with a lion.  A monkey sits between these two scenes, while a deer, a warthog, and a dog fill the background.  Framed by a curving border of berries. Embroidered in gold metallic threads and polychrome silks on an ivory silk foundation.