biglam/cooper-hewitt-alt-text huggingface dataset:
Sample end of lappet
, 19th century
linen Technique: bobbin lace, Mechlin style

Sample end of a cap streamer with a Louis XVI design. Openwork edge with sprig motifs arranged vertically in the field.
Panel
, 17th–18th century
linen and silks Technique: embroidery

Small panel of cream white linen embroidered in cross borders, horizontal in black silks. Highly stylized geometric and foliage forms with counted running stitch and surface stitch. One selvage present.
Mary with the Child
Donato Creti, Italian, 1671–1749, ca. 1720
Graphite, pen and ink on paper
Drawing

Oval with Mary, child and cherubs.
The Tomb of Clara-Maria of Saxony
Domenico Cardelli, Italian, active 1786-1810, ca. 1800-1810
Engraving on paper
Print

Under a lunette window is the wall tomb of Clara Maria Rosa Spinucci, Princess of Saxony (d. 1792), in the Cathedral of Fano. Before a pyramid, a winged figure is about to extinguish a torch; beside it, a medallion portrait of the deceased.
The Dog of Goltzius
Hendrik Goltzius, Netherlandish, 1558 – 1617, 1597
Engraving on laid paper
Print

A boy, holding a bird in his right hand is about to climb on to the back of a large shaggy dog. The portrait is supposed to be that of the son of Theodore Frisius, the Venetian painter to whom Goltzius dedicated the print. Inscription and date 1597 with monogram H. Q.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a trefoil blossom and stem. Openwork petals and center. Superimposed large rosette.
Fragment
, early 19th century
silk Technique 7&1 satin with weft floats bound by supplementary warp

Neoclassical design with lions and cartouche in blue and white.
Sketch of Figures Bearing a Cross
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Sketch of figures bearing a cross. Below, man with laurel crown, blowing a horn; mouth of horn not pictured. Probably a study for a mural of the Ascension.
Cooper Union Museum Lace Study Card
, late 18th century
linen Technique: needle lace
Fragment

Alençon-style narrow border with lower edge in a design of minute blossoms. Ground powdered with dots.
Costume Design: A Satyr for a Ballet
, ca. 1720
Black chalk on paper
Drawing

Vertical rectangle. Shown in three-quarter profile, turned toward left. The head is turned toward the right shoulder. He wears a very large hat. He is holding with both hands a stick he carries on his right shoulder.
Fragment
, 17th century
silk, metallic Technique: supplementary warp forming pile on a plain weave foundation (velvet) with supplementary wefts

Trefoils in red on yellow ground.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper, mounted on illustration board
Drawing

Design of two vertical rectangles (posts) topped with a lunette (semi-circle). All are painted in chartreuse, yellow and light blue. The two posts have additional design in the lower third in dark brown with a cross within a circle.
Design for Rectangular Dining Table "B"
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular molded and beaded table top with a dividing stretcher running across center is raised on six fluted tapering legs on casters decorated with carved water-leaf motifs at bottom.
Mark Hopkins House
Herter Brothers, New York, New York, ca. 1865–82, ca. 1878–80
Rosewood, inlaid and veneered with various woods, silk (of the period but not original)
Side chair

The back of inlaid open rectangular latticework surmounted by an incurved crest band inlaid with a rod with ribbons holding a banner, side stretchers separated with three circular voids, side supports, tapered legs and stretchers all with gilded incuse lines; the yellow Chinese silk upholstery fabric of the period but replaced.
Design for China Cabinet in Three Views
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Elevation at upper left, side view upper right, plan across bottom of sheet; tall rectangular cabinet with tri-partite glass-front panel, raised on 4 slightly tapering legs.  Side view shows rectangular, narrow profile with  molded frieze-like top.  Plan shows oblong silhouette of cabinet with canted front corners.
Panels
Unknown, ca. 1907
wool ground, wool and silk embroidery, cotton and linen velvet lining Technique: embroidered on plain weave

2019-28-51-a,b: Crimson curtain panels have chartreuse, dark red a...;     5896.55b.2019: Crimson curtain panels have chartreuse, dark red a...
Mirror from Traveling Dressing Case
Asprey & Son Co., London, England, 1872 - 1879, 1875
glass, wood, leather
mirror

Rectangular mirror (-1d) within black leather frame with gilded foliate decoration; back covered in black leather. Part of a travelling case (-1a: case;  -1b: jewelry drawer; -1c: jewelry drawer cover; -1d: mirror; -1e: interior tray with silver handles; -1f: tray for manicure tools; -1g: key) that houses a traveling dressing set comprising: rectangular case ,lined with purple silk, fitted with leather document holders, and mirror with gold-leaf foliate border, the upper level withy 4 rectangular and 1 central faceted silver-lidded cylindrical cologne jars, 3 silver-lidded glass boxes, 2 silver-lidded glass ink bottles, mother-of-pearl handled sewing implements, tweezers, button hook, pen knife and hole punch or scorer-all in the upper compartment, a secret drawer below fitted with a letter writing slide.
Design for Round Table on Triangular Base
A.N. Davenport Co., November 27, 1905
Graphite on thin cream paper
Drawing

Round molded table top raised on triangular flaring support, sitting atop molded triangular base terminating in carved animal-paw feet.
Tassel
, 17th century
linen, wood Technique: braided and knotted Label: Braided and knotted linen, wood core

White linen tassel with braided stem connected to egg-shape base. Core is braided over and from it hang multiple knotted elements--the longest from the center with a bird figure.
Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1780
hard paste porcelain, vitreous enamel, gold
saucer

1938-57-767-a: Cup has double-curved side, cylindrical foot, inte...;     1938-57-767-b: Cup has double-curved side, cylindrical foot, inte...
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Square window in salmon with rhomboid at center in green.
Sidewall
, 1850–70
Machine-printed on ungrounded paper

Diaper pattern with white quatrefoil alternating with blue floral quatrefoil. Printed on ungrounded paper.
chatelaine
G. Parvis, late 19th century
metal, gold, vitreous enamel

Comprising four elaborate white and gilded metal elements in the Egyptian style, three elements being a circular coin purse and two storage compartments depending from the central element composed of a mask and pectoral above a lozenge-shaped medallion and oval medallion with a green enameled frog; the whole decorated with polychrome enamel.  Large hinged clip on back of central element.
Processes of Wallpaper Production
, 1882
Engraving on paper
Print

The image shows five scenes, each with a subtitle. Beginning with the upper left scene: . A GLIMPSE . OF . THE . ART . ROOM . depicts three men at their easels as a fourth wearing a top hat circulates the room; upper right: . RECEPTION . AND . SALE . DEPARTMENT . a scene in roundel form depicting a sales reception, where a man shows potential clients (a man and woman) art off an easel, as others circulate the room; lower left: . PRINTING . TWELVE . COLORS . AT . ONE . IMPRESSION . ON . THE . CHROMATIC . PRESS . depicts a man on step ladder working a large wheeled printing press; center: A mark consisting of a stylized lion or dragon, with tail morphing into foliage, sits in profile while holding an escutcheon with two bees and a diagonal band; lower right: . EMBOSSING . depicts a worker embossing the rolls of wallpaper; lower right: . REELING . UP . depicts a worker rolling up the cut pieces of wallpaper. Lower margin has scrolling foliage on stippled-like ground; upper margin composed of various designs, including sunflowers, geometric shapes, grape bunches, and birds.
Saving a Gun
Isaac Walton Taber, American, 1857–1933, 1888
Crayon, pen and ink, on paper
Drawing

Four soldiers dragging a gun across the battlefield, which is strewn with the dead.
Sidewall
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Foliate stripe design. Wide bands of foliage, having the appearance of oak leaves, in clusters of five, set between bands of narrow metallic gold motif. This alternates with narrow band. Printed in shades of brown, tan and metallic gold on strie background.
Our Women and the War
Winslow Homer, American, 1836–1910, September 6, 1862
Wood engraving in black ink on paper
Print

A series of four vignettes, showing women assisting in the war. In upper center, women sewing; at upper right, women washing; at lower left, a nun praying with a man; at lower right, a woman writing a letter, dictated by a wounded man.
Dado
, 1790–1825
Block-printed on handmade paper

Inset panels, alternating large panels with small. Printed in grisaille.

H# 633
Cup and Saucer
Doccia Porcelain Factory, Italian, established 1735, ca. 1870–1900
hard paste porcelain, vitreous enamel, gold
cup and saucer

Curved flaring cup, with twisted stem handle, ending in leaves. Slightly curved saucer. On cup, relief decoration of mythological scenes (Judgement of Paris, Mercury, Neptune), enhanced with polychrome painting. Upper part of cup and inside gilded. Saucer gilded with polychrome relief festoons and cartouches.
Border
, 1800–1825
Block-printed on handmade paper

Band of dentilling at top edge, adjoining a foliate band over a narrow band of dentilling. Center band of border is flocked and contains six-pointed stars spaced 5 1/4 inches apart. Lower edge of border contains bead-and-reel strip and vague traces of egg-and-dart design. Printed in brown flock, and white on pale orange ground.

H# 460
Vase
Rookwood Pottery, American, 1880 - 1967, 1900
Earthenware

Elongated ovoid body, short neck, slightly flaring lip. Burnt siena nasturtiums with bud and dark green leaves painted on dark brown ground shading into dark green and burnt siena on body under brilliant glaze.
Shawl
, 19th century
silk, painted ivory (faces) Technique: satin stitch embroidery and appliqué on crèpe; macrame

Fine cream crèpe square embroidered with a deep border of Chinese figures and groups in garden scenes. Square central field filled with four large vases of flowers. Satin stitch embroidery on both sides. Deep fringe with macrame beading.
Seeing the Old Year Out
Winslow Homer, American, 1836–1910, January 5, 1861
Wood engraving in black ink on paper
Print

Double-page spread showing a group toasting before the fireplace. At right, another group at prayer in church, titled "Watch Night."
Undulating Wave Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Repeated undulating ripples represent an abstract wave motif. Silk threads are added to support the stencil structure.
Design for a Painted Porcelain Plate, Le Sagitaire (Sagittarius) from le Zodiaque Travesti (The Farcical Zodiac) Service
Jean Charles Develly, French, 1783 - 1849, 1824
Pen and brown ink, brush and brown, black wash, pink, tan watercolor, white gouache, red crayon, graphite on cream laid paper mounted on cream laid paper, ruled boarder in pen and brown ink
Drawing

Design for a painted porcelain plate, square format. Scene in a walled garden.  Figure of a man, seated left foreground, is teaching a young child holding a bow, how to shoot.  Two arrows appear in the wall, right middleground, above semi-circular cave in wall.  Two women, right background, watch the archery lesson. The man tells the boy that he will shoot higher when he grows taller.
Design for Mosaic Floor
Frederick Krieg, American, b. Germany 1852–1932, ca. 1900
Brush and watercolor, pen and black ink, graphite on white wove paper
Drawing

Pink fleur-de-lys pattern with bordering ribbon-tied festoons.
Purse
, 1830–50
silk, metallic beads Technique: embroidered net with beads

Flat purse of fine black net embroidered with cut steel beads arranged in point ovals and tent stitch in yellow and green silks. Fitted at top to steel frame with catch-chain of steels bands. Lined with pink taffeta.
République Française Liberté Égalité
, ca. 1792
Block printed on handmade paper
Sidewall and attached border

Wallpaper designed for the French Revolution, illustrated with oak leaf wreath enclosing crossed fasces, sword & Phrygian cap. Tricolor ribbons wrapped around fluted column bear legend: "Soyons Unis/Nous Serons/Invincibles."
Mackerel Cove, Conanicut Island, Rhode Island c. 1877
William Trost Richards, American, 1833–1905, ca. 1877
Brush and watercolor, graphite on paper
Album page

View overlooking small cove within Mackarel Cove. Land in foreground with water and another land mass in left middle ground. Narraganset Bay opens in right distance.
Design for a Plate
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold, pink, white gouache, graphite on cream paper
Drawing

Design for a plate that is mostly salmon-colored; border decorated in scallop form garlands, rim, and rhomboid pattern in gold. Several tableware sketches in graphite upper margin.
Sashiko Motifs
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu),
Katagami

Sashiko is a form of traditional folk embroidery using the running stitch to create patterns with symbolic meaning. Shown here are various traditional patterns such as wisteria wreaths and floral blossoms are also evenly distributed throughout the design.
A View of the Palace of Chantilly
S. Rigaud, ca. 1750
Engraving, brush and watercolor on paper
Print

The palace, center rear, surrounded by water and gardens with fountains. Foreground shows men and women walking and sitting on stone steps with orange trees on either side. Title, artists', and publisher's names below.
Peonies and Ropes
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Also known as the "King of Flowers," the peony (botan) is a symbol of good fortune, bravery, and honor in Japan. Amongst the variety of peonies, ropes are mingling in the background. Silk threads are added to support the stencil structure.
Sidewall
, 1860–80
Block-printed paper

Vining floral design.  Clusters of foliage, printed in 8 colors: shades of taupe with light gray shadow effect, with blue flowers. Vining tendrils printed in metallic gold. Printed on a white satin ground.  This piece was cut from the roll end with a section of unprinted white satin ground.
brooch
, ca. 1837
hair, gold, ivory, seed pearls, pailettes

Framed gold oval showing horn-of-plenty made of hair, seed pearls and pailettes and the initials "FEG".  Surrounded by tightly woven brown human hair.
Fragment
, 13th century
silk on linen Technique: embroidered

Fragment of a small embroidered pendant in blue and red silk on linen.
Sampler
, 1831
silk embroidery on cotton foundation Technique: embroidered in cross, star, and four-sided stitches on plain weave foundation

Alphabets, lettering, and crowned monograms in top half; isolated floral motifs and house with stepped roof at the bottom.
Metamorphic library table-steps
Thomas Sheraton, English, 1751 - 1806, ca. 1795
Mahogany, brass, felt

A four-legged rectangular table made in mahogany with brass handles. This table folds out into a small ladder.
Sampler
Maria Atwater, American, early 19th century
cotton embroidery on linen foundation Technique: embroidered in cross stitch on plain weave

Bands of alphabets and numerals separated by simple cross borders, with the inscription Maria Atwater. The lower band is unfinished. Embroidered in light blue, grey-green, pale yellow, and brownish-black.
View of the Academy of Music and Brooklyn Sintary Fair Building with Connecting Bridge
A. Brown and Company, 1864
Chromolithograph on paper
Print

Street scene showing the Academy of Music, left, with a bridge connecting it with the Fair building across the street, right. Below: "Brooklyn Sanitary Fair, 1864 / View of the Academy of Music". (Plate from History of the Brooklyn and Long Island Fair, 1864, 22 February, Opposite p. 20).
Fragment
, late 16th–early 17th century
silk Technique: 5-harness satin damask; alternating rows of S-twist and Z-twist stems on the plants

Yellow-green damask with staggered rows of two types of flowering plants.
Sidewall
, 1875–99
Block-printed paper, embossed

Imitation leather. Embossed large-scale shell motifs on vertical striped bands alternating with vertical bands of cartouches enclosing bouquets of flowers; printed in metallic copper and gold.
Border
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Block-printed on embossed paper

Printed three across, turquoise blue and maroon flowers with foliage. Printed on emobssed metallic gold ground.
Designs for Chocolate Cups, Plate 1 from 1st Cahier d'Ornemens et Fleurs
Jean-Baptiste Fay, French, active 1765 – 1790s, 1780–90
Engraving on off-white laid paper
Print

Designs for the decoration of twelve chocolate cups composed of birds and foliate motifs.
Figure of Punch
, late 19th century
Plated brass
Matchsafe

In the shape of the character Punch shown from the waist up, with long nose and chin, wearing a pointed cap, hands joined together at his front, identical front and reverse. Circular opening at base, hinged at back. Striker on bottom.
Sidewall
, 18th century
Leather, embossed, paint, gilt

Parrots and pomegranates with scrolling foliage.
Embroidered tiraz fragment
, 10th century
silk on linen Technique: embroidered on plain weave

Fragment with a narrow band of Kufic inscription embroidered in red silk on woven linen. Made during the  Abbasid period caliphate (AD750-1258).
Street in Saverne
James McNeill Whistler, American, 1834–1903, 1858
Etching and open bite or sandpaper ground
Print

A narrow street, lined with houses, shown at right. A light from a lantern affixed to the wall, right, casts a light on the group of houses, left.
Sidewall
, 17th century
Leather, paint, metallic leaf

Leather embossed with vase and floral design.
Fashion Plate no. 367 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.
Sidewall
York Card & Paper Co., 1891, 1885–90
Machine-printed on paper

Asymmetrical styling with a Rococo revival-style influence. Two bouquets of pink and yellow flowers alternate diagonally.  Vines and scrollwork embellish and connect these motifs. Straight across match. Printed in colors on dark blue ground.
Design for a Platter
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and gold gouache, watercolor, graphite on cream paper
Drawing

Gold decoration of a platter in trellis design, curved edge, C-curves and scrolls, roses and snowflake-like motif; portrait of a woman in profile at the top with roses in her hair. Several graphite sketches of tableware in upper margin.
Hiragana and blossoms motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Repeated rows of Japanese characters (hiragana) and floral motifs are differentiated with thick positive and negative lines.
Synagogue, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Title, artists', and publisher's names below.
Sampler
Maria Anselma, 19th century
cotton embroidery on cotton foundation Technique: embroidered with withdrawn element work on plain weave foundation

Bands of pattern in blue and white. Needle lace at bottom edge.
The Long Room, Custom House, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolors on paper
Print

Long crowded roomm, with tellers' desks along the walls. Crowd in front includes Turkish and Chinese people. Title, artists', and publisher's names below.
Sidewall
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Large-scale stylized floral motif, possibly tulip, alternating with a very small gold motif. Printed in tan, brown and metallic green on a brown moire-like ground.
River Landscape with Two Buildings Connected by a Bridge
Augustin Hirschvogel, 1503 – 1553, 1525
Etching on laid paper
Print

Lanscape depicting riverside town, with stone or brick buildings. At left, a barren tree rises from foreground out of frame, at left a turreted building stands before craggy mountains.
Compliments of the New York Watering Company: Printing, Moire, Re-dyeing and Finishing
New York Watering Company, American, ca. 1900
paper, cotton, silk, metallic thread
Manufacturer's sample book

Accordion-pleated stiff paper folder with front board cover with dark imitation pebbled leather printed in gold, "Compliments of the New York Watering Co., Printing, Moiré, Re-dyeing and Finishing." Contains numbered samples, stapled to pages, of metallic trimmings that are stamped, woven and printed in imitation of chiné designs.
Study of Hemlock, Gorham, New Hampshire
Daniel Huntington, American, 1816–1906, August 6, 1862
Graphite on paper
Drawing

Hemlock, at right, above other trees, beyond, in over-grown meadow.
Design for a Landscape with a Sheperdess and Cows
François de Cuvilliés the younger, German, 1731 - 1777, 18th century
Etching and engraving on off-white laid paper
Print

Scene of a rustic landscape with shepherdess and cows. The title of the series is printed on a stone tablet at the center of the plate.
Design for Bed Alcove Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Below are, at right, a curtain at the front of the alcove; at left, an undecorated panel. Above an entablature is a frieze with figures. A lower strip of the ceiling is vaulted and decorated with arches containing two women alternatively beside a vase and supporting a medallion.
Fragment
, 6th–7th century
Warp; S-spun linen. Wefts; linen, wool Technique: slit tapestry woven

Image of basket containing fruit.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Ornament designs with grotesque motifs featuring putti/faun, Man's with a beard wearing a helmet, dragon with foliate scroll tail and flower vase, with fleurons.
Plan de la Grote de Noisi le grand
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a grotto at the chateau of Noisy, France. A scale below. The plate is titled and signed.
Stage Design, View into Palace
Carlo Antonio Buffagnotti, Italian, ca. 1660–after 1715, early 18th century
Pen and brown ink, brush and gray, pink, and blue wash on laid paper
Drawing

Vertical rectangle. View into high vaulted halls of a palace, richly decorated with columns. Two lanterns hanging from ceiling, coffered ceiling with floral decoration in foreground.
Sidewall - fragment
, ca. 1768
Block printed on handmade paper

Two larger portions mounted on canvas, with space between, of serpentine vine design of large leaves set with large flowers and flower clusters; ground set with diagonal rows of dots and crosses.
Textile
, 1760s or 1770s
silk Technique: plain weave (yellow) patterned by floats of a continuous supplementary weft (yellow) and discontinuous supplementary wefts (multicolor)

Yellow silk grosgrain brocaded with multicolored silks. Design has serpentine ribbons covered with pink cloverleaves and yellow scalloped edges. Between ribbons are symmetrical floral sprays and delicate branches with pink, blue and purple buds.