biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Mirror Frame with Monogram of Marie-Antoinette
Richard de Lalonde, French, active 1780–96, 1787–90
Pen and black ink, brush and gray wash, yellow watercolor, graphite on paper
Drawing

Vertically oriented rectangular mirror framed with moldings intertwined with floral garlands at the top.  The garlands and other floral motifs frame a sphere with Marie Antoinette's monogram. Top center of frame is decorated with two doves, a garland from which is suspended a wreath with two arrows and a tassel. Below, a six-armed chandelier. Frame is decorated with flower vases, candelabra, acanthus leaves and a basket of flowers at bottom center.
LE PONT AU CHANGE
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the bridge the Pont au Change in Paris with the river Seine in the middle. The bridge is lined with buildings, buildings also along both banks of the river. Barges, boats, and figures on the river and the streets are filled with people. Details are lettered with an explanatory legend below. A history/ description of the bridge is lettered below. The plate is titled and signed.
Still Life of Musical Instruments
Evaristo Baschenis, Italian, 1617 – 1677, 1625–77
Oil on canvas
Painting

Still life with lute, violins, books and sheet music on a table covered with a red tablecloth.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

A row of six hanging six-lobed leaves without stems.
Palm Forest in the Quindio Pass, Colombia
Frederic Edwin Church, American, 1826–1900, July 1853
Graphite, brush and white gouache and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing view of receding mountain ridges in the Quindio Pass, Colombia, and the palm trees that prolifically grow there. A stream is visible in the foreground at left and winds its way though the alternating ridges of the valley. Small hillside visible at right. Mountains become increasingly taller as they extend through the middle distance into the background.
Garden and Villa
, 1650–1700
Pen and brown ink, green, brown wash, black chalk, ruled border in pen and brown Support: white laid paper
Drawing

A two-winged staircase, with a stone-covered court with a fountain in the center is leading to an upper terrace, where two colonnades are the conjunction to the main building. At their ends next to the staircase, small circular buildings are upon their roofs, indicating a third level where cypresses stand. Clouds indicated.
Button
, 1801–50
Silver on copper

1931-59-109: Button ornamented with a crown and above that, two...
Cap crown
, 1700–1750
linen Technique: bobbin lace, Brussels style

Design of large and small flowers with gracefully curled leaves.
Porte Montre dans le Gout moderne
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Design for a mantle clock featuring putti, a scythe, clouds, dolphins, foliate branches, festoons of flowers and leaves, palm leaves, and scrolling leaves (rinceaux). The plate is titled and signed.
Six chalices
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Six chalices.
Waistcoat
, late 18th century
silk Technique: embroidered

Man's waistcoat in dark brown silk with multicolored floral embroidery. Collarless cutaway style with scalloped pocket flaps.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Dark blue and beige reproduction textile inspired by a sixteenth century example in the Cooper Union Museum collection. Design has a large-scale symmetrical design of a flower-filled urn surrounded by scrolling bands with perching peacocks. Warp threads vary slightly in tone to simulate the appearance of a historical textile.
Don Ouixote
Gorgerat Frères et Cie., Nantes, France, 1783–1815, 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Incidents from the story of the same title by Miguel Cervantes. In red on white.
Snuff bottle and stopper
, ca. 1850
glass, ivory, cork

The body is formed of a flattened oval. A narrow tapered neck is fitted with a red glass stopper knob, cork stopper and ivory spoon. The body is of pale green white opaque glass, overlaid with translucent deep red glass covered in a three-dimensional pattern of vines, leaves and gourds. Three gourds at the base form feet for the bottle.
Title Page
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

Title page with the title inscribed on a pedestal supporting a vase above, foliage all around with trees in the background. The plate is numbered.
Massacre of the Innocents (without the Fir Tree)
Marc Antonio Raimondi, Italian, 1483 – 1527, 1513–1515
Engraving on off-white laid paper
Print

Killing of the children in foreground. In center background, a bridge; right and left, houses. Left mid-distance, a pedestal with inscription: "Rapha urbi inven. MAF (in monogram
Plate Illustrating Standard Concrete Block Façade Walls (“Murs de Façade ‘Standard’ en Agglomérés”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the facade walls.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

brown/red warp with white and pink wefts
Fragment
, 18th century
silk Technique: damask

Long vertical strip with large repeat of a spray with flowers and fruit in a faded coral color.
Fragment
, 17th century
silk, metallic thread Technique: compound satin weave, brocaded and couched

Light brown satin with medium scale repeat of composite curved leaf in rows and slanting alternately left and right. Leaf motif, outlined by couched silver thread, consists of a set of loose weft floats cut down center to form fancy effect. Silver brocaded outlining border of small leaflets. Supplementary leafy framework of silver foil wefts on brown satin ground.
Border
, 18th–19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Band of bobbin peasant lace in a lozenge pattern.
Interior of Westminster Hall
Ernest Clifford Peixotto, American, 1869–1940, 1899
Brush and grey watercolor on paper
Drawing

Interior of the hall, showing the hammer-beam roof.
Ruin of a Mill
Walter Clark, American, 1848–1917, ca. 1885
Graphite on paper
Drawing

A part of the structure of the mill is shown at right; trees, at left.
Trimming
, late 19th century
cotton Technique: knotting (macramé) using square knots, half knots, double half hitches and a chain of half hitches.

Long panel with a horizontal repeat of triangles made up of knots and open spaces.
Fragment
, 17th century
metallic, silk Technique: bobbin lace

Wavy, ribbon-like design in gold colored metallic thread and silk.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Sketch of a woman's head, looking upward toward the right.
"Ex. "Design by the Yard" Summer 56"???
, 13th–14th century
linen Technique: block printed with pigment on plain weave
Fragment

Fragment of indigo dyed linen printed in silver with a design of addorsed, regardant birds in an ogival framework.
Sketches of Three Heads
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite and black crayon on tracing paper
Drawing

Large sketch of a woman's head, looking up toward the right. At left, two other heads of women, oriented differently, looking toward the left.
September and October
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

5 in a series of 10 plates
Sewing sample
, late 19th century
Cotton

Round sample of bobbin lace with a few details in needlepoint.
Design for a Woven or Embroidered Horizontal Border, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

A rose garland is shown over scallops.
La Gondole (The Gondola)
Abraham Genoels, Flemish, 1640 - 1723, ca. 1680
Engraving on white laid paper
Print

View of formal gardens, with a chateau at far aned of a long pool and promenade.  Trees to the left of the pool. In the foreground, two figures on the bank to the right of two large urns on pedestals; other figures in a pleasure boat.
Sarong
, early 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

A sarong featuring the "semen" motif--a design of finely drawn scrolling lines, tablets, dotted areas, etc. in dark blue and light tan on white ground.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts: S-spun linen. S-spun wools Technique: slit tapestry with supplementary weft wrapping

Monochrome circular medallion showing a centaur in the center surrounded by a variety of animals.
Capelet
, ca. 1825
cotton Technique: printed by engraved roller on plain weave

Caplet of plain weave cotton printed with allover pattern in shades of brown showing stylized flowers within dashed hexagons.
Study of Draped Figure with Palm
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and violet watercolor, graphite on cream laid paper
Drawing

Possibly for a ceiling. Angelic figure with open arms flying to the left, carrying a palm branch.
Panel
, 19th century
linen Technique: blue resist on plain weave

Large bedcover or hanging in a design showing a vase of flowers and festoons in an allover arrangement. Border design of edelweiss enframes three sides of the piece.
Textile
, early 18th century
silk Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragment of brocaded silk with large-scale floral sprays and foliage in colored silks on a white ground.
Weight
, 800–1200
Earthenware

Domed, pierced roundel of red clay, with relief figure of monkey.
Robe
, 19th century
cotton appliqué and embroidery on elm bark (ohyo) foundation Technique: appliquéd and embroidered in couching stitches on plain weave foundation Label: Woven elm bark, appliquéd and embroidered with cotton

Robe made from narrow widths of cloth woven from elm bark, in tobacco brown with varied stripes of dark indigo blue and white. Dark blue cotton appliqué with white couched-thread embroidery adorns the hemline, sleeve cuffs, and upper back. Dark blue cotton neckband.
Fragment
, ca. 1880
silk Technique: cut and uncut, voided supplementary warp pile (ciselé velvet)

Broad vertical stripes of floral sprays and serpentine bands in brown velvet on a ribbed light blue background.
"Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold

1938-57-446/450: Asymetrical ovoid dish with scalloped rim, scrolle...;     1938-57-446-a: Asymetrical ovoid dish with scalloped rim, scrolle...
Sidewall
, ca. 1880
Machine printed on embossed paper

Dense Neo-Rococo pattern consisting of a motif of fanciful flowers and grape-like bunches of fruit growing on long snake-like stem repeated vertically in off-set columns; dark color scheme of burgundy, greens, cream, muted pink, and white-dot highlighting on tan ground.
Textile
, ca. 1825
cotton Technique: printed by engraved roller on plain weave

Four scenes that might illustrate events in the life of Henri IV.  Two of the scenes would complete themselves if lengths were sewn together as a straight repeat. In purple on white.
Textile
, ca. 1795
cotton Technique: block printed on plain weave

Polychrome pattern of two long-necked birds and a vase, hanging basket and flowers on a black background. Straght repeat. Block edges visible.
Ribbon
, 19th century
silk Technique: woven

Blue satin with blue and white plaid.
Sampler
, 19th century
wool, linen Technique: counted thread embroidery

Geometric bands and borders in red and blue counted thread embroidery on natural linen.
staircase model
, 19th century
mahogany

Staircase model turning at right angles in two levels.
Chrysanthemum Pattern Oyster Fork
Charles T. Grosjean, American, d. 1888, ca. 1880
silver
fork

Three short tines, widely spaced, forming curved bowl. Tapered neck, widening to silver handle of curving, ungulating shape, covered in a relief pattern of overlapping foliate scrolls and chrysanthemum buds, with engraved "B" in the central reserve in terminal. Rounded terminal, topped with chrysanthemum flower. Reverse side densley decorated with overlapping foliate scrolls and chrysanthemum buds.
Sampler
, 1846
silk embroidery on linen foundation Technique: buttonhole, running and knotted stitches on plain weave

Small sampler with decorative buttonholes worked in white on a white ground, with the inscription and date in red at center.
Fragment
, late 18th century
linen Technique: block printed using resist, vat dyed in indigo on plain weave. Every third weft is twice as thick as the other wefts giving the fabric a ribbed appearance.

Corner of a table cover. Border design of tassels alternate with flowers, field of intersecting circles.
Sidewall
, 1840–60
Block printed on continuous paper

Ashlar block design with Greek-inspired medallion centered in each block.
The Yard – Tattersall's, the Saturday Before the Derby
Charles Mottram, English, 1807 - 1876, 1870
Engraving, brush and watercolor on paper
Print

Courtyard, with a portico around three sides in rear, buildings beyond. Many men standing; horses being ridden into the yard from the left. Title, artists' and publisher's names and date, below.
Clock case
John Scott, 1770–75
Carved wood

Rectangular base resting on moulding and slight feet. On front, moulding in shaoe of rectangle with concave corners. Slender case with arched door. Clock house projecting, with cut, fluted corners, arched glass windows on side, and arched door. Above, cut-out scrollwork below concave arched top, and three brass urn-and-flame- finials. Brass face partly engraved, deocrated with applied scrolls. Four white enamel ring dials and name plate.
Stage Design: Garden Scene with Fountain, plate 8, part 5, from "Architetture e Prospettive dedicate alla Maestà di Carlo Sesto"
Johann Andréas Pfeffel, German, 1674–1748, 1740–44
Etching with engraving on white laid paper
Print

Stage design with a fountain surmounted by figure of Neptune as centerpiece.  On left and right are ornamented colonnades with statues, trees, and urns.  Beyond colonnade in background is elaborate villa/palace.  Male (left) and female (right) figures occupy the foreground in front of the fountain.
Old Cemetery, Venice
Arnold William Brunner, American, 1857–1925, 1883
Brush and watercolor on paper
Drawing

View from the Canal. Low buildings, two towers. Gondolas left and right.
Case
, ca. 1595–1700
shark skin

1985-103-176-a: Shagreen case for two implements, pointed tip.50;     1985-103-176-b: Sabre-shaped blade with straight upper edge; globu...;     1985-103-176-c: Two long tines, curved shoulders. Spiral-shaped ne...
Beaker with Water Birds (One of a Pair)
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th century
hard paste porcelain, vitreous enamel, gold
beaker

Beaker in the form first made in 1737 -1740 for the Swan Service. Painted decoration two swans.
Sidewall - sample
, 1906–08
Machine-printed paper

Diaper or foliate stripe design containing vining foliage printed in red on red ground. Half the background is printed in deep red with the foliate pattern revealed in the void, while on the other half the design is printed in deep red on a textile-patterned light red ground.
Textile
, early 18th–early 19th century
linen Technique: block printed with resist paste, indigo dyed, plain weave

Fragment of resist-printed linen, with a pattern of left-facing bird with outstretched wings seated on baskets of flowers. Design in white on faded blue ground.
Study of lagoon, Venice, Italy
William Stanley Haseltine, American, 1835–1900, July 8, 1871
Graphite on paper
Drawing

Sketch of the lagoon in Venice with Santa Maria della Salute on the horizon.
Queen of Diamonds
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Queen of Diamonds court playing card from a pack of transformation playing cards. A female figure wearing a red dress, white apron, and white hat. She is surrounded by a basket at left and various vegetables and produce at right. A red diamond in upper left corner.
Sidewall
, 1880–90
Machine-printed

Aesthetic or Anglo-Japanesque-style design, with stylized flowers and foliage in an asymmetrical key or fret framework.
Ceiling paper
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, liquid mica

Floral bouquets of mixed flowers and foliage. Bouquets are non-directional. Printed in colors on yellow/green ground.
Band
, early 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Binche-style border with swirling floral and foliated forms.
Dramatic Study of Ocean, Cliff, and Light-filled Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Rough ocean crashing against rocks in right foreground, cliffs at right.
Workhouse, St. James Parish, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Women sitting and sewing at benches and tables around a bare room. Door at left. Title, artists', and publisher's names below.
Ceiling paper
, 1907–08
Machine-printed on paper

On light pink ground, staggered wreaths in yellow with scrolls some containing bunches of yellow flowers.
Argyle
, 1775–1800
copper, silver, wicker
argyle

Capstan-shaped body, reeded molding middle; stepped domed lid with ball finial; long narrow s-curved spout; s-curved handle covered with wicker; wedge-shaped spout with hinged lid opposide other spout (to fill lower compartment with hot water).
Scene of the Confederate Attack on the West Side of Crew's Hill
Harry Fenn, American, 1845–1911, 1885
Pen and ink, brush and black and grey wash, with white gouache, on grey paper
Drawing

View of a large field with chickens scratching around. Large fields in middle distance.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Mission or Art Nouveau style. Series of short horizontal lines with one large flower in the center. From these lines hang upside-down bouquets of roses. Bouquets are connected by a swag of leaves. Printed in brown, white, and shades of green on brown ground.
Study of seashore, Rhode Island
William Trost Richards, American, 1833–1905, ca. 1877
Charcoal and graphite on paper
Drawing

Sketch of a cove with rocks along coastline.
figure study for a fountain design
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayon, white chalk, on gray paper
Drawing

Vertical rectangle. The nude figure of a boy, standing, facing the viewer. The arms are uplifted, basin on boy's head, and pedestal, are suggested.
Sidewall - sample
, 1906–07
Machine-printed

Vertical stripes, 5 1/2 inches and 3 1/2 inches alternate. The wide stripe is bordered on each side by a floral design. Its center is filled with a design of watermarks. The 2 1/4 inch stripe is vertically designed with fine line lace pattern. Printed in shades of green, black and gold mica.
Frieze
, 1905–1915
Machine-printed paper

Pink roses set within medallion containing foliate and floral motifs. Tall medallions alternate with shorter medallions. Swags are suspended beneath the medallions. Printed in pink, white, green and brown on tan paper.
Sampler
Ann Burrows, English, 1796
silk embroidery on wool foundation Technique: embroidered in cross, chain, satin, running, and eyelet stitches on plain weave foundation

At the top: two alphabets and numerals and one alphabet in groups of three letters in boxes.  Below: "Friendship" poem surrounded by potted flowering plants.  Name and date wreathed in flowers on a vine.  Stylized vine and flower border.
Figural Group of a Cherub and a Seated Lady
Meissen Porcelain Manufactory, German, active from 1710 to the present, 18th century
hard paste porcelain, vitreous enamel, gold
figure

Figural group; a cherub with a grown on one arm rides a lamb to a seated female.
Ribbon-tied urns
, 1800–1850
Block-printed on handmade paper
Sidewall

Arabesque with ribbon-tied urns and foliate streamers. Printed in grisaille on gray ground.
Embroidered picture
, 1850–1900
wool, silk, and paint on silk Technique: split, stem, cross and couching on plain weave silk on plain weave linen. Uncounted stitches.

The Holy Family (Mary, Jesus and Joseph) in a landscape with the Holy Spirit, personified as a dove, in the sky.  The silk fabric was placed on a plain weave linen fabric and the embroidery was done through both layers.
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Double loops attached to pear-shaped unit from which hang seven elements, knotted and braided, including center.
Sampler
Emilie Beier, 1826
cotton Technique: embroidered in satin, eyelet, and stem stitches on plain weave foundation

Alphabets and monograms in red on white ground.  At bottom "Zum Andeken au Emilie Beier 1826" marking sampler
Textile
, mid- 19th century
Technique: 4 & 1 satin damask; warp float face of the satin as background

Length of blue damask has dense scrolls and flowers that create medallion shapes, enclosing alternate flower bouquets.
La Traverse, from La Vie de Château
Gihaut Frères, French, 1815 - 1871, 1830
Lithograph, brush and watercolor on paper
Print

Traverse with one wheel in a deep rut; three men trying to extricate it. Another beyond, left. Title and artists' names below.
L'arrivée des Lettres et des Gournaux
Gihaut Frères, French, 1815 - 1871, ca. 1830
Lithograph, brush and watercolor on paper
Print

Six people in a parlor; two women reading letters, left, and three men listening to one reading a paper. Title, artists' names below.
Border and sidewall
, 1780
Block-printed on handmade paper

a) Rinceau of leaves, flowering vine and grain on pale blue ground. Above this a pink bead molding. Below, a band of fruit with leaves; c/i) Horizontal sequence of adjoining grape vine wreaths, at the center of each is a trophy. Trophies are of four types, forming a repeating sequence. "a" is printed on pale blue ground, "b" is in grisaille.
Jardin partage en quatres parterres et Thérasses (Garden Beds and Four Terraces), in Nouveaux Livre de Parterres contenant 24 pensséz diferantes (New Book Containing 24 Different Variations for Garden Beds)
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching and engraving on white laid paper
Print

Landscape architecture design for garden.
Fragment
, 16th–17th century
wool Technique: block printed on plain weave

Coarse, cream-colored ground printed in reddish-brown. Pattern shows part of a floral spray and at one side, a section of border in a cartouche pattern.
Carpet
, late 19th century
cotton, bast, fiber, wool Technique: printed on supplementary warp cut pile

The Circus: horizontal panel with three naturalistic scenes framed in arches. The largest scene shows a large standing elephant with a trainer wearing a red coat and a small rearing elephant. The small panel on the left shows a standing bearded figure wearing a red cloak and in the small panel on the right a standing man wearing an animal skin. Colors in shades of brown, tan, red and yellow (faded).
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

Grid or trellis pattern formed by meandering ribbon, quatrefoil at intersections each containg four torches. Round medallion centered in each void. Printed in red and metallic gold on light green ground.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave

Cream-colored cotton roller printed with an al-lover pattern of pink and blue bows with scattered black dots.
Sidewall
, 1875–99
Block-printed paper, embossed

Embossed large blossoms and oak-leaf type foliage. Ragged edges, printed in taupe mica on dark green.