biglam/cooper-hewitt-alt-text huggingface dataset:
Rocaille Designs for Frame and Border Decoration
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off-white laid paper
Print

Designs for ornamented borders or frames with rocaille motifs including scrolls, shells, rinceaux, and garlands. The plate is signed and numbered.
Mount Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, 1852–1853
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of Mount Katahdin in Maine beyond a nearby body of water from a perspective south of the mountain. In the foreground, dark, wooded banks at left and right frame a view of a river or lake that reflects pinkish-red sunset hues and hosts a sailboat at right. A small spit of land juts out into the water at lower center. Across a dark, hilly middle distance, the rugged contour of Katahdin looms over the landscape at center, rendered in brownish-purple. Baxter Peaks peak is visible at center and Pamola Peak at right. Above, fiery red sunset clouds hang in an otherwise gray and cloud-filled sky.
Lake Lucerne from "The Swan"
Daniel Huntington, American, 1816–1906, June 22, 1844
Graphite on paper
Drawing

Lake ringed with mountains. On right shore, a house and trees.
Street Scene With Figures
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and bistre ink, brush and wash on paper
Drawing

At left, a group of three figures and a dog. In the middle distance, right, a woman moves toward the left, carrying a water pitcher on her head. Framing line, with inscription below, left.
Mountain Valley, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing a mountain valley leading to the sea in Jamaica, viewed obliquely and rendered lightly. In foreground, a small hill at right transitions to the relatively flat valley floor in the middle distance. Beyond, tall mountain ridges bound the valley as they descend across the composition from left to right. In the background at right, they ocean is visible.
Study of a Group of Children
, 1625-1675
Black chalk, white heightening on paper
Drawing

A child sits at right pointing with the right forefinger and looking down. One child kneels before him, two more sit on the ground, a fourth is standing. At the left edge is a sketch of another one, standing.
Two Ornament Panel Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two vertical arabesque ornament panel designs featuring female figures as supportive caryatids, vases, flowers, foliate branches, foliate scrolls, fleurons, scrolling leaves (rinceaux), and a festoon of leaves. The plate is numbered
Design for Two Panels of Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for two vertical panels of ornament. The left panel features a cartouche with a scene of putti sleeping underneath a canopy held up by trees; the right panel depicts putti among the clouds. The plate is signed and numbered.
Soffit and Vase Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four square soffit and two vase designs. The soffit on the upper left of the plate is labeled "Bacchus," and has a tambourine trophy in the center, and flower rosettes in the corner. The soffit on the lower left is labeled "Apollon" and has a trophy with a lyre and horns in the center, and surrounded by a laurel wreath. The soffit on the upper right is labeled "Flore" and has a wide mouthed vase filled with flowers in the center, and budding leaves in the corners. The soffit on the lower right is labeled "Cerès" below and has a bundle of wheat in the center surrounded by a wreath of flowers. The two vases are in the center of the plate. The top vase has a narrow neck and a garland of flowers. The lower lidded vase has a wide belly and two upturned, geometrical handles. The plate is signed and numbered.
door boss and nail
, ca. 1500
wrought iron

In the form of a scallop shell. Squared nail head on squared shank.
Stage Design, Pavilion and Small Buildings
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash, graphite on paper
Drawing

Horizontal rectangle. Pavilion with stairs leading up to it, smaller buildings below. Palace at a distance in background.
Sidewall - sample
, 1906–08
Machine-printed

Damask-like design. large-scale flower set within large acanthus leaves, forming diaper pattern. Printed on pale gold mica background.
Floral Design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Graphite, brush and gouache on blue wove paper
Drawing

Two panels of multicolored flowers on yellow stems on dark brown ground separated by patterned stripes of purple and pink, bordered with yellow and turquoise.
Purse
, 19th century
cotton, glass beads Technique: knitted with beads

Drawstring pouch with pictorial scene of a lake, mountains, and people in a park, bordered by grapes and leaves. Lined with tan cotton.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Large medallions with bouquets of flowers in the center and framed by "C" scrolls. Connected by two floral swags, one large and one small. A curviliar linear line consisting of thin "C" scrolls runs across the top of the frieze. Printed in gold, silver, white, and shades of brown and green.
View of Wissahickon Creek
William Trost Richards, American, 1833–1905, August 1866
Graphite on off-white (soiled) paper, mounted on back cover of album
Album page

View of creek between cliff at left and tall trees at right with large rocks in foreground.
Textile
, 1700–1750
plain weave cotton Technique: mordant and resist painted; immersion dyed (chintz)

Scrolling vines with red and blue flowers, including tulips and carnations, on a cream-colored ground. Emphasis is given to the forms of the flowers by leaving a very narrow white space between the edge of the petals and the outlines. Piece is seamed across center. Lower section shows evidence of a border at the right side. 

White cotton, on which a strongly curved vine appears, from which spring various large flowers.  The foliage is now blue as the yellow has disappeared. Blossoms in reds, pink: some show details of a gray-violet. Drawing is heavy, bold, emphatic; flowers seen in profile are realistically drawn; naturalistic veining in leaves. Emphasis is given the forms of flowers by a trick of leaving a very narrow white space between the edge of petals and the outlines, which are sometimes red, sometimes brown.  Among the flowers the tulip and carnation are identifiable. 
Colors: Two shades of red, pink, blue, a gray violet (faded purple), brown and red for outlines.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace pillow border, floral scrolls; mid-18th century Flemish.
Sample book of ribbons
, ca. 1910
silk, cotton, leather, paper

Notebook with dark leather corners and back, with board covers covered with polychrome marbled paper, and plain pages on which are pasted 94 wide ribbon samples in polychrome and white silk, and one section of coarse cotton cloth printed with roses. Samples include chine, satin stripes, satin printed, fancy cloth, ribbed cloth, and printed cotton.
Sidewall - fragment
, 1895–1905
Machine-printed

Small brick pattern separated by alternating long and short lozenges with angled ends, the bricks containing smaller patterns. Printed in white, black, gray and tan on a spotted ground.
Ocean Wave Hexagons
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Ocean wave (seikaiha) hexagons (kikko) form this geometric motif. During the feudal period, samurai would wear armor constructed with plates inspired by tortoise shells. In Japan, ocean wave symbolizes strength and the ebbs and flow of water and life.
Banknote Proof: The Treasury Department
Bureau of Engraving and Printing, U.S. Department of the Treasury, Washington, D.C., ca. 1900
Engraving in black ink on paper
bank note

Proof of bank-note engraving. Vignette of the Treasury Department, Washington, D.C.
Purse
, 1815–40
silk, glass beads, metal Technique: beaded knitting

Small flat purse of fine colored beads, in a horizontal pattern of rose garland and buds, in white, red, blue and green. Athe top a section of dark red through which pass two little bars with coral tips. Gold chain, broken.
Sketches of Boats
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Barges, center and upper left, with cargo. Sail-boats, upper right and below, and a rowboat. Figures in on boats and barges.
Flemish Street Scene with a Scottish Man
Will Hicox Low, American, 1853–1932, ca. 1905
Mezzotint with dark brown ink on cream-colored paper
Print

In a Flemish town, nera an inn, a Scottish man in a kilt walks along while various town folk look on.
Collar
, 18th century
linen Technique: plain weave embroidered with deflected element work

Collar with a slightly scalloped edge showing design of large flowers and buds with curving leaves.
Wood block
M.H. Birge & Sons Co., 1834, 1875–99
Wood, brass

Vertical rectangle with irregular short sides. Basic block for multicolored design, cut for larger printing areas. Leafy swags (the stems and a few nails in brass), containing wreathed oval medallions with flower. At junction of swags, two crossed flutes in laurel wreath. Drop repeat, drop match. Block stamped "8596".
Altar frontal
, early–mid-19th century
cotton, linen, silk, metallic thread Technique: appliqué with satin, couching and chain stitch embroidery on plain weave

Altar frontal with an embroidered band that reads on the left "imponebant manus super illos," and at the right end "et accipiebant spiritum sanctum." Band is surrounded by scrolling vines. In central section, twelve medallions with figures of saints embroidered in brown and yellow silk surrounded by a scrolling vine embroidered in gold thread and red cotton. The saints (from left to right) are: the Virgin and St. Anne, The Virgin and Child, St. Henry of Bavaria (identification not certain), St. Christina, Joseph, a Bishop (not identified), St. Peter, Christ, St. Paul, John the Baptist, St. John and St. Francis.
Textile
, late 18th century
cotton Technique: block printed, with yellow applied by brush, on plain weave

Fragment of printed cotton with half-drop repeat of dahlia-like flowers on a meandering lattice, in many colors on a white ground with black picotage.
Design for a Sugar Bowl
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gouache, watercolor, pen and black ink, graphite on cream paper
Drawing

Design for a sugar bowl with lid. Body of bowl is decorated with papyrus flower in tan, blue, and green against a gray-green ground that is covered in thick white curved lines; neck decorated with blue fans; gold at upper and lower rims. Lid in graphite, unfinished.
Three of Clubs
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Three of Clubs playing card from a pack of transformation playing cards. Vertically, figural scene depicted in one tone. A girl jumps rope, which is twirled by two older women at either side, each of the three figures marked with a black club. At bottom, the woman's face is made black by the club, her facial features highlighted in white. A house and trees in the background. At lower left, a man holds the hand of a small child.
Patola
, 19th century
silk Technique: tied resist patterning in warp (ikat) on plain weave

Silk patola with tied resist pattern in purple and yellow showing vertical lines and central pattern of diamonds and stars with border of diamonds and hearts. Stripes run parallel to selvage on either side. Fringe at top and bottom.
The Man and His Dog in a Landscape
Gillis Neyts, Flemish, 1623 - 1687, ca. 1650
Etching on paper
Print

A landscape, with several large trees reaching almost the top of the plate, at right. In front of the trees a narrow road with figures, including a man and his dog in the immediate foreground, right. Buildings visible at left.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a farmhouse with mountains in the background.
Sampler
Jane Greenway, 1721
silk embroidery on linen foundation Technique: embroidered on plain weave

Sampler with border of a line, repeating triangles and another line with the alphabet and numbers one through nine embroidered below. Another line and triangles with florals and decorative border with text below: THE LORD AND __ WILL BE TENDER FATHER UNTO THEE LOVE GREENWAY 1721. Border of repeated triangles with floral border below and words __ IS AN ORNAMENT BUT VERTUE IS MORE EXLENT. Embroidery of flowers and trees with empty space between another floral embroidery at the bottom.
Oddington Church Yard, Gloucestershire, North West View
Unknown, English, 1843
Pen and black ink; brush and black and gray wash on cream wove paper
Drawing

View of the side of the church across the churchyard. Ivy covered suqare tower at center. Clusters of trees at left and right.
Cup
, late 18th century
Hand painted and gilded porcelain

Export armorial tea bowl. Painted armorial featuring arrows, within a scrollwork cartouche. Floral decoration. Gilding at rim.
Sketch of Chair and Door
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Chair, with decorative arm rest, legs, and upholstery, left. Right, decorative door panel and detail of low relief, lower right.
Compote, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1821–1833
porcelain (feldspar), vitreous enamel, gold
compote

1959-155-4: On oval foot a rectangular dish with deeply scallo...
Ceiling paper
, 1905–1915
Machine-printed paper

Quatrefoil pattern composed of fleur de lis, with a wreath in the center of each. Overall background pattern os small grid or trellis. Printed in yellow ocher on tan ground.
Old Soldiers Hospital, Kilmainham, Dublin
James Malton, English, 1761 - 1803, 1794
Aquatint, brush and watercolor on paper
Print

The hospital is shown at right, with a tower over the principal entrance. Terrance wall at left. Below, title, artist's and publisher's names and the date.
St. Francis de Sales from St. Peter's colonnade
Paolo Reggiani, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Paolo Reggiani of St. Francis de Sales on the North Colonnade of St. Peter's. He is bearded and wears a short mantle with a brooch at the neck. His hands are at his chest, one above the other.
Exercises in Parallel One-Point Perspective
Cooper Union Art School, ca. 1880
Black ink and red crayon on paper (two additional sheets mounted on)
Drawing

Vertical rectangle. Two exercises in one-point perspective, showing a room interior, street scene, and various cube-shaped objects, with lengthy explanations for each exercise.
Embroidered picture
, 17th century
silk, metallic, glass Technique: embroidered with stump work on satin ground

In center, two women holding a shield or crest, surrounded by various figures.   Top center, the sun; to the left, a fruit tree and a woman holding a snake; to the right, a flowering vine and a woman holding a flower.  Bottom center an old man leaning on a staff; to left a man and woman; to right a woman and two children under an arbor.
Border
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Border with a repeated design of a bird perched on a branch with a turned head. Design interspersed with elaborate diagonal scroll work.
Waistcoat
, 1760–1780
silk embroidery, silk foundation, linen back Technique: embroidered on satin weave

White satin waistcoat embroidered in multicolored silks. Floral border along bottom edge below the pockets. Detached floral motif runs along the center front. Twelve worked buttons. Cutaway style.
commemorative
, 1876
wood, pressed
Plaque

"Centennial Exposition / Main Building"
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 3. Design for bedroom and carved chaise longue with high headboard and with unsupported circular canopy suspended above. Large standing case clock in background whose face projects numerals across foreground.
Architectural Details at Blois
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Three sketches of water spout in the shape of a fish with its mouth open, tongue sticking out. Center, a capital. Upper right, a medallion.
Sidewall
, ca. 1885
Fiber composition impregnated with tung oil, embossed

Imitation leather. Coffered effect formed by an enframed stylized plant form being repeated in horizontal rows, each row being separated from its neighboring row by horizontal ornamented bands. The rows are staggered and the direction of the plant forms in the compartments is reversed at tandom. Design shows German influence.
Sidewall
Sears, Roebuck and Co., founded 1886, 1914
Machine-printed paper

Stripe design, with stylized floral motifs, alternating between a larger motif printed in colors, and a smaller motif printed in gold.
Sampler
Ann Bell, English, 1788
silk and metal-wrapped silk embroidery on linen foundation Technique: embroidered in cross, stem, satin, and half cross stitches on plain weave foundation

Within a curving floral border text "Create in me a clean heart, O God and renew a right spirit within me."  Then Adam and Eve with a figure of Justice and an angel.
Rainy day
Félix Hilaire Buhot, French, 1847–1898, ca. 1875
Etching in black ink on white paper
Print

A narrow street in evening on a rainy day. One person with an opened umbrella carrying a lamp recedes into background followed by several dogs.
Sidewall - fragment
, 1820–50
Block-printed on handmade paper

Green bouquet in white wreath. Printed on yellow background.
Textile
, ca. 1825
paper, cotton Technique: printed

Forty-six swatches of printed fabric (twenty-three per side of page - one missing on each side) each numbered in pen and ink from 506 through 529. Each swatch measures about 5.5 x 8 cm. (2 1/8" x 3 1/8"). All patterns are small scale floral in at least three colors. Yellow over blue for green.
Dado
, 1815–25
Block-printed paper

Empire style dado fragment. On light, bright green ground, horizontal rectangle outlined and shaded in green and white to simulate raised panel, corners filled with symmetrical acanthus, flowers and berries in yellow and gold-color around diamond with center of gold and yellow foliage with four white flowers. To left of rectangle, pair of fluted white columns with gold and yellow bases and capitals with cross-hatching. Illusionistically behend and between columns gold and gray wreath.
Sampler
, 1816
silk, metal-wrapped silk, and flat metal strip embroidery on silk foundation Technique: embroidered in chain, stem, satin, running, couching, knots, and back stitches on plain weave foundation

Isolated memorial and floral motifs mounted on green silk.  German text "Dir theurer Vateri demich nie gekant Sey dieser Kranz geweit aus meiner Hand 1816." "To you dear father, whom I never knew, this wreath made by my own hand."  "Entfernfund doch Vereiniegt." "Going away from union."  "Zum Andenken dez freundschaht."
Design for a Gas Lamp and Candelabrum
, ca. 1855
Brush and watercolor, gouache, pen and blue ink over graphite on tracing paper
Drawing

This drawing depicts a candelabrum and gas lamp consisting of a tall-necked porcelain vase in a floral design. The vase is mounted on a gilt-bronze tri-footed base, with putti flanking a coat-of-arms surmounting a female mask. Twenty candle arms encircle the gas lamp.
Seascape with Beach
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

View of ocean from beach with waves coming up on shore.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of three figures in a garden. A light-skinned woman, nude but for a shawl around her waist, stands before a servant in a white dress holding a tray with bottles and a female child also in a white dress holding a parasol.
Waistcoat
, 1780–90
silk Technique: embroidery in chain stitch made with a tambour hook using 15 colors of silk on silk plain weave foundation

Panel containting the left and right fronts, lapel revers and button covers of a gentleman's waistcoat. Pattern of flowers and chinoiserie figures.
Dessert Fork with Red Beetle on Handle
Charles Victor Gibert, French, ca. 1890
gold plated, silver, enamel
fork

Four tined fork with thin tines. Plain narrow stem, continues to form long gold-plated branch with small leaves on either side. Red enameled beetle perching on base of branch.
Chintz fragment
, 18th century
cotton Technique: mordants (2 reds, black and purple) applied by pen or brush; madder dyed; blue brushed over resist; yellow applied by brush; chintz on plain weave

Flowering vines and floral clusters. Indian adaption of a European woven fabric.
Study of Wisteria Foliage
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor on white tissue paper
Drawing

Horizontal sheet depicting a single branch of wisteria drawn diagonally across the sheet.
Study of a Man Holding a Globe
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Study of a man holding a globe for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Fragment
, late 17th century
silk, metal thread Technique: damassé foundation (8 harness satin plus plain weave). Satin patterned by floats of discontinuous supplementary wefts

Fragment of a pattern of two alternating verticals: architectural motifs, ornamental garden-like buildings, and flowers. Two lances from the top of a building in each row create a loose diamond lattic. Two level patterns; gold and muted colors on an ivory damassé background.
Candlestick and socket
, late 18th–early 19th century
wood, turned

The base of the candleholder is formed as a deep Saucer, with a central shaft threaded to accept the turned vase-shaped nozzle for the candle.
Biblia
Paulus Aertsz van Ravesteyn, Netherlandish, 1609 - 1655, 1628
paper, silk, metal, pearls Technique: embroidered
Book with embroidered cover

Book covered in green velvet with a central medallion embroidered in colored silks on white satin and enclosed by a ring of pearls within a heavy frame of metallic yarns, some raised. Different medallion on front and back.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Bright pink ground with green and light yellow floral pattern.
La Veüe
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of a man and a woman holding a basket looking at one another. They are surrounded by vines and scrolls. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
A Young Woman Withdrawing Her Veil
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1775–1790
Stipple engraving on paper
Print

The young woman faces left, but looks straight ahead.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1765–75
cotton Technique: printed by engraved plate on plain weave

The pattern, in red on a white ground, depicts a large tree trunk with various species of birds; a hawk attacking a bird at the foot of the tree;  at left, a large crested bird watches another bird drinking from a pool below.
At a Stream in the Mountains Near Rome
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Paper
Drawing

Two kneeling and two standing women at the edge of a stream. One of the kneeling ones in her lap; the other is washing laundry. Trees on elevated ground form the near background.
Sample sheet
, ca. 1750
paper, wool Technique: fulled

Folded sample sheet with twelve samples in very bright colors. Samples are mounted on paper which reads, "Londrins Seconds de la Gravette May No. 133 Fabriques de la Manufacture Royale de la Trivale.