biglam/cooper-hewitt-alt-text huggingface dataset:
Rain over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, possibly July 1866
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a sunset over the Catskill Mountains with nearby rain clouds, as seen from Church's property near Hudson, New York. Rugged peaks of the Catskill Escarpment--specifically Acra Point and Windham High Peak--comprise the horizon near the lower margin at center and left. Above, layers of clouds are brightly illuminated by the light of the setting sun, which has sunk behind the mountains. Above, loosely-rendered storm clouds hang in the sky.

Verso: Landscape sketch showing a portion of a panoramic view of West Point and the Hudson River, as seen from the estate of railroad tycoon William H. Osborn, known as Castle Rock, in Garrison, New York. Being the first part of this panorama, this leaf does not feature the military academy or the river, but instead the several nearby overlapping mountain ranges that extend to the horizon. The undulating hills descend to the right, ultimately to the shores of the Hudson--out of view here.
Design for an Embroidered or Woven Medallion
, 1775–1790
Brush and gouache on glazed tracing paper
Drawing

A circular frame is fastened with a bow-knot to a dotted frame, the left side of which is not shown. Boughs form a monogram CA under a wreath in the medallion.
Bearded Man Standing
Daniel Huntington, American, 1816–1906, 1852
Graphite on buff wove paper; verso: brown crayon, pen and black ink
Drawing

Elderly man with a beard, standing, bent toward the right. He holds some object in his right hand; the left hand out in front of him. His hips and legs lightly outlined. Verso: A leg, and an arm in a loose sleeve.
End of a towel
, 19th century
silk and metallic threads on cotton foundation Technique: embroidered on plain weave

Strip of embroidery, probably a towel end, with a zigzag design, has pink carnations and small blue flowers above and stylized basket shapes below.
Cupid Awakens Psyche Overcome by the Content of the Vase Filled by Proserpine
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen and dark ink, brush and black gray watercolor on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. The entrace to Hades is in the background. The lower and part of the upper framing of the lunette are indicated.
Allegorical Frontispiece
Charles-François Hutin, French, 1715 - 1776, 1751
Engraving on laid paper
Bound print

Allegorical frontispiece representing M. le Dauphin conducted by France to the wedding temple where the god of marriage holds a carved portrait of the Infanta. The description of the symbols of this plate is described in detail in a preceding plate (1921-6-207-1).
Primiere Suite de Vases
Charles de Wailly, French, 1729 – 1798, 1780–1790
Etching on paper
Print

Five vases on the top of each of two consoles, one underneath. The console at right has goblets between curcing supports on either side. At bottom, plans of top and bottom levels and "Pre Suite de Vases inventé et gravé par Dewailly". Framing line.
Bull
Adriaen Pijnacker, Dutch, ca. 1690
Tin-glazed earthenware
Figure

Standing cow with head turned to the left. On an elongated octagonal base with beveled sides. Painted decoration including a blanket and sprays of flowers in green, pink, red and gold.
The Whore of Babylon, from The Apocalypse
Albrecht Dürer, German, 1471–1528, ca.1496-97
Woodcut on laid paper
Print

Dense and dramatic outdoor scene; billowing clouds part to reveal winged angels guiding a crowd mid-air, led by the horsemen of the apocalypse (?), upper left. At lower left, an ornately dressed crowd is gathered, standing opposite a horned, seven-headed, long-necked, fantastic beast, ridden by a woman holding aloft an ornate vessel. Signed AD, lower center.
Title Page from "Second Licre Contenant Differens Desseins de Pendules Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

An oval frame set into a rectangular framework with curved top and bottom. The upper part decorated with a profile portrait in a medallion. The lower part supported by a masque and flanked by two dragons. Inscribed in the oval frame, title; lower margin: "A Paris chez Huquier au coin de la rue des Mathenins"; upper left: "B"; upper right: "1".
Leaf from a sketchbook
Grace D. Holt Newton, June 28, 1860
Pencil on paper
manuscript

Vertical rectangle. At top (in pencil): "Copied / from Martha S. Day- / Those that went up to High Bridge. / June 28th 2860- / Mr. Richards Teacher / M. O'Brien Teacher / Miss Charlotte Cogswell / Miss Elizabeth Field / Guglielma Field / Mary J. Parkinson / Carrie Ward / Almira Fitz / Elizabeth Fitz / Mary Creamer / Sarah Townsend / Ella Quimby / Annie McGay Bailliers / Mrs. Corinna B. Nye / Martha S. Day / All teachers and pupils of the School of Design / Cooper Institute / N.Y." Written along left side: "Went up on boat Sylvan Grove to Harlem, / changed boats Tiger to High Bridge / Returned in Tiger to Harlem, then took / boat Sylvan Grove to Peck Slip."
Fragment
, 19th century
linen Technique: bobbin lace (Lille style with heavy outlining thread)

Fragment of Lille-style insertion lace in a pattern of rectangles.
Child's dress
, 1880
cotton Technique: embroidered; handmade and machine-made lace

Child's dress of white cotton. Front of bodice, sleeves and skirt of alternate bands of eyelet embroidery, gathered muslin, and handmade Valenciennes lace. Deep flounce of eyelet embroidery at bottom of skirt. Machine-made lace at neck, on cuffs, and down front. Front of waist open for insertion of sash.
necessaire
, late 18th–early 19th century
shagreen

Tapered octagonal case, the deep top hinged at one side, caught with button catch at other. Interior fitted to receive nine implements, all missing.
Plate
, ca. 1775–1800
Tin-glazed earthenware, overglaze muffle colors

Circular cavetto, scalloped rim irregularly ten-side. Chinoiserie decoration: two men on see-saw, both holding birds. At left, a tree rooted in gaily colored rocks. Border of alternating birds and latticed green panels.
Sleeves
, 17th century
silk on cotton Technique: embroidered

Pair of sheer cotton rectangular sleeve pieces: "b" is slightly deeper than "a." Each has four rows of grouped slits outlined with fine whipped cord; delicately embroidered with black silk with butterflies in the spaces between the groups of slits, smaller insects on the bars between the slits themselves. Central area of sleeve-piece only filled with embroidery. Heavily sized; upper edge whipped; lower edge finely hemmed; sides with deeper border of coarser unsized cotton cloth, each with four small holes outlined with buttonhole stitch.
Benedict Knew Him for the Man Whose Name Was Still Warm Upon Their Lips, Illustration for Scribner's Magazine (XXXVI, No. 2, August 1904, p. 187)
Frank Walter Taylor, 1874 – 1921, 1904
Charcoal and watercolor on illustration board
Drawing

A bearded man stands in the background, facing the spectator, his head turned sharply to the right. In the foreground, the head and shoulders of another man are shown, turned away from the spectator, with one hand seen, grasping the barrel of a shotgun.
Band
, 1600–50
linen Technique: needle lace

Deeply pointed punto-in-aria border in floral patterns. Blue bell design alternating with lily sprays.
Decoration
, 19th century
silk Technique: machine made

Fragment of black lace in the form of a jumping lion. Mounted on net.
Vignettes of Ladies Fashions
Riep, ca. 1770-1780
Engraving on paper
Print

Vertical rectangle. In two vignettes they are accompanied by gentlemen.
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on grey-violet paper
Drawing

Nude female figure reclining to the left, facing frontally; right knee bent under left leg, head in right hand, left arm resting on thigh.
Costume Design: Dancer to Perform on a Chariot for a Ballet
, 17th century
Pen and brown ink, brush and brown wash, black chalk, graphite on paper
Drawing

Vertical format. Male figure shown frontally in a dancing pose; the right arm and the left hand are roughly sketched, in pencil. Written on top: "Ballarini dal carrone" (?); added in pen and ink: "no lo."
Lafayette Street
Childe Hassam, American, 1859–1935, 1918
Lithograph on wove paper
Print

Corner of Lafayette Street, lower Manhattan. A large American flag hangs from the corner building.
Design for a Panel
, 1780
Pen and Chinese ink, brush and watercolor on paper
Drawing

Two putti suspend a trophy of arms from a bracket on top.
Vignette, Two Dogs
, 1840s
Wood engraving on paper
Print

They are seated in a field and gaze at each other.
Fragment of Paracas mantle
, 300–100 BC
cotton, wool Technique: embroidered on plain weave foundation

Design of a butterfly looked at from above. Four curled feelers on either side of the head and a mask at the end of a long tongue. Solid embroidery on cotton ground in tan, red, blue, brown, green and dark blue. Probably cut from a large mantle.
Fragment
, 18th century
linen Technique: bobbin lace (Mechlin style)

Serpentine stem with leaves and flowers and Lille ground.
Altar frontal
, late 17th century
silk, linen, metallic thread Technique: embroidered

Scenic rectangular panel with a frontal perspective of a plaza or garden. The vanishing point is at the center of the panel. Design shows an arched gate with hanging floral garlands at one end of the plaza (top, rear) flanked on both sides by an open arcade supported by spiral columns encircled by spiraling floral vines. On the bannister between each column is an urn of flowers. Urns decorate the top of the arcade and birds fill the sky above. In the center of the tiled arcade (center foreground) is an elaborate spouting fountain with spouting mermen and seahorses. Facing the fountain, left and right, are animals and birds: a rooster, dog, peacock, rabbit, stag, tortoise, monkey, crane. Rendered in multicolored silk and metal-wrapped yarns tarnished to black. Metal fountain and columns in raised metal couching. The perspective is very forceful and overpowers the pictorial unity.
Glorification of the Virgin
Albrecht Dürer, German, 1471–1528, ca 1506
Woodcut on laid paper
Print

Vertical rectangle. Within an opening framed by columns, the Virgin is seated, facing the spectator, The Child standing on her lap. Saints and angels flank the group, a music playing angel, right. Putti on ledge in foreground.
Tray
, ca. 1825
earthenware

A/ in form of swan, on high foot, the neck serving as handle. Surface moulded to stimulate feather texture. B/ elliptical, with moulded leaf border.
Fringe
, 17th century
silk Technique: woven

Fringe with a green and yellow checkerboard heading. Skirt threads are looped, arranged in scallops, and are alternately green and yellow.
Textile
, 1870–1880
silk, cotton Technique: compound weave

Staggered repeat of symmetrical formal leaf-like scrolls and ogival forms in dark blue, purple and gold.
Snuff bottle and stopper
, 18th century
Jade, carnelian stopper

Milky stone, carved, blossom shape, oval top???
Band
, 16th century
linen, silk Technique: lampas (two interconnected structures: plain weave and plain weave)

Narrow band patterned with lions facing a fountain, alternating with a flowering plant in an urn.
MOMUS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Panel of arabesque ornamenation with the personification of Momus, figure of Greek satire and mockery, at the center. The plate is signed.
Martha and Magdalen Ascending the Steps of the Temple
Georg Matheus, German, active 1551 - 1572, 1550–1570
Chiaroscuro woodcut on paper
Print

Martha and Magdalen ascending the steps of the temple
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1898-1900
Mouth-blown favrile glass

Iridescent yellow, slightly opaque on neck and shoulder, clear at base. Tall slender neck with small lip. Central portion of the body indented tripartitely, bottom portion is flattened sphere. Incised marks on base: "T 4550 L.C.T. Favrile"
Samples from Malmaison
Augustin François André Picot, French, 1804
cotton, silk Technique: Satin stitch on plain weave foundation.

Mat with two fabric samples. The upper sample is embroidery using stamped silver metal on white cotton (floral shapes). The lower sample is an embroidery using white silk on aqua silk in an acanthus leaf design. The mat has been painted and gold leaf applied.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. rust color ground with off-white and light rust color
b. same colors as "a", but a different area of the pattern
Fragment
, 17th–18th century
silk, metallic Technique: brocaded

Tan ground with design of scrolling conventionalized leaves and palmettes.
Cap streamer
, 1850–1900
linen Technique: needle lace with ground of loop and twist with loop and twist return

Cap streamer with scalloped edges has vertically arranged medallions containing delicate floral bouquets. Flower heads and intricately interlaced bands form the outer edges. Commonly referred to as Brussels point de gaze.
Panel
Bruce James Talbert, Scottish, 1838–1881, ca. 1870
cotton, linen, wool Technique: 2&2 broken twill and 1\3 twill with complementary wefts (yellow linen, green wool and brown wool) and inner warps (red cotton). The inner warps float or interlace on the front. Only the areas which are green are 1\3 twill.

Woven hanging with a wide border at bottom and continuous pattern above in muted red, yellow,green and dark brown. The border contains a lilly, a chrysanthemum and a butterfly and the guard band below a lotus-like plant. The field has a repeating pattern with full-face blossoms on a line forming an S-shaped grid.
Wine Pitcher with Putti, Vines, and Goats
Joseph Angell II, English, 1816 – 1891, 1854
silver, gold
pitcher

Hexagonal pitcher in plan, slight engraved decoration on foot; belly plain, shaped neck straight; hexagonal domed cover, crowned with putto on cask, extending upward to cover lip; handle in form of acanthus tendril, forked and double looped; ewer covered with framework of trellises, vines and putti in various wine-making activities.
Brillion Collection
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze containing swags of roses hung from the vine-entwined ribbons with daisy chains linking the swags to a large ribbon of bows. There are stripes at the edge. Printed in pinks, greens, and yellow on a background that shades from deep to lighter green
The Chinese Room in the Royal Palace, Berlin
Eduard Gaertner, 1801 – 1877, 1850
Brush and watercolor, gouache, graphite on white wove paper
Drawing

This Chinese Room reflects the royal taste and patronage in the 1820s and 1830s Berlin. Large panels of highly decorative hand-painted Chinese paper, with borders of gold Chinese characters on a blue background, line the walls. Black lacquered furniture upholstered in bright yellow silk, a curving banquette by Birkenholtz covered in blue damask and two Renaissance Revival chairs covered in rose velvet provide seating. A japanned cabinet is in partial view in the right foreground; large Chinese porcelains are on display; and a grand chandelier hangs from a whimsically painted ceiling evoking the heavens. The bare floor is of blond parquet.
Pitcher
Charles Meigh, English, active 1812 – 1861, 19th century
Stoneware

Green putty colored bulbous pitcher with scene in relief depicting Roman style battle.
Charger
Olérys-Laugier Factory, France, founded 1738, 1760s–80s
Tin-glazed earthenware

Circular form with shaped rim. Monochrome ochre decoration shows Callot-style figures on staggered terraces, and allover scattered florals.
The Tyler Tube & Pipe Co., Washington, Pennsylvania
Unknown, American, ca. 1910
Letterpress: black ink on cream wove paper
letterhead

Upper left, a three quarter elevation of a factory building (with clocktower) identified as "GENERAL OFFICES";  at upper right quadrant of sheet,  company name, location, name of President and Vice President.
Frieze
Leissner & Louis, 1875
Machine-printed, embossed paper

Japonaiserie motifs: vase, phoenix medallion, geometric and floral patches of patterning in shades of pink, pastel blue, brown, metallic gold & silver
Handkerchief
, late 19th century
linen Technique: plain weave center, bobbin lace (late Valenciennes ground)

Handkerchief of linen with wide border of late Valenciennes lace in design of curving band with floral ornaments.
Shawl
, ca. 1840
wool Technique: twill weave with supplementary weft

Square shawl of fine red wool with warp fringe. Thin cream-colored cross-stripes form large squares, each with a small floral motif in white, black and green.
The Orchard Wind-Break, Illustration for The Century Magazine (XXXVII, No. 4, February 1889, p. 501)
Mary A. Hallock Foote, American, 1847–1938, 1889
Wood-engraving in black ink on paper
Print

Girl and young deer in foreground. Row of trees behind the group.
Study of landscape
William Trost Richards, American, 1833–1905, 1867
Graphite on paper
Drawing

Sketch of a pasture and buildings with mountains in the background.
Fragment
Miles & Edwards, 1847, ca. 1830
Technique: block printed on plain weave foundation; block registration marks visible

Mark faces in opposite direction to direction of pattern. Pattern of polychrome bunches of flowers on natural.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a delicate vine and flower pattern has raised three-dimensional details. Pattern areas connected by brides with wheels and picots.
Dado
, ca. 1895
Embossed

Heavy floral and scroll design of which only a portion is included in this fragment. A bead molding at top. Printed in brown. Adhering to back is brown wood grain paper which probably was used for sidewall.
Messrs. E.G. Henderson & Son's Horticultural Establishment, Wellington Road, St. John's Wood, London
E. G. Henderson and Son, English, ca. 1859 - 1886, ca. 1857–1864
Chromolithograph on paper
Print

Messrs. E.G. Henderson & Son's Horticultural Establishment, Wellington Road, St. John's Wood, London.
Knife with Antler and Silver Handle
, ca. 1730–40
antler, steel, silver
knife

1985-103-134-a: Small shagreen case (a), lined with paper, without...;     1985-103-134-b: Steel knife (b) with straight lower edge. Upper ed...;     1985-103-134-c: Fork (c) has three curved tines, curved shoulders ...
Vignette for Ladies' Fashions
Esnauts et Rapilly, French, active 1766 – 1804, ca. 1770–1780
Engraving on paper
Print

One of five vignettes from a sheet entitled "Collection de Costumes…" after designs of LeClerc, Desrais, and others, of ladies' dress for various occasions, with inscription.
Border
, ca. 1800
Block-printed on handmade paper

Border: simulation of lace drapery. On brown ground, white "lace" festoons with flowers, green scallops between black edge-lines, green edge lines and six-sided white figures with orange dots.
Prince of Babylon
Robert Graves Co., New York, New York, 1890–1920
Machine-printed
Border

a) Wide border and two narrow borders with three very narrow bandings printed on one sheet. On cream ingrain paper, bold curving motifs in dark green and brown, outlined in black; b) Six narrow borders and three very narrow bands duplicating those in "a". "c" duplicates "b".
Bowl and lid
Metaale Pot [de] (the Metal Pot Factory), ca. 1690–1710
Tin-glazed earthenware

Eight-sided bowl on short foot; domed cover with ball finial; painted in underglaze blue on white, around body with Chinese pots and border of floral reserves, on cover with matching design, on finial with flower.
Purse
, mid-18th century
silk and metallic thread embroidery, foil strips, coiled gilt wire, and spangles on silk foundation Technique: embroidered in running, stem, satin, knotting, and couching stitches on plain weave foundation; faces painted

Shield-shaped purse trimmed with gold lace and lined with pink taffeta. On each side, gold thread embroidery and couched gold strip frame a scene embroidered in colored silks. On one side, a woman and two men pick fruit from a tree with a ladder; on the other, a house on a island in a lake in the background, with a coach and horses passing along a road in the foreground.
Dado
, 1870–86
Machine-printed on continuous paper

Dado with inset panels. Moldings forming horizontal rectangles with rounded corners. Between them, pilasters with scrolled capitals. Bead molding above and below. Printed in shades of bluish gray.
Paper Sample
, 19th century
Coated paper
Drawing

Paper sample in red.
Flask and stopper
, late 19th century
Glass, straw, cork

Flat, oval glass flask covered in woven straw; conical cork stopper.
The Ostrich Hunt
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1578
Engraving on laid paper
Print

Horizontal rectangle. Horsemen and dogs hunting ostriches. At lower left: "Iohannes Stradanus inuentor." Below: "Struition in seguitur celeri gens Maura molosso..."
Stained glass window: First communion
John C. Wolf, 1890–1900
Brush and watercolor on heavy paper
Drawing

Three figures taking communion with a priest standing at right.
Darning sampler
, 1876
linen, wool, cotton Technique: embroidered in running (pattern darning) and cross stitches on plain weave foundation

Twelve squares of pattern darning in red, white, and blue.
Sampler
, late 18th–early 19th century
linen embroidery on linen foundation Technique: embroidered in cutwork with pattern darning and needle-made fillngs with deflected element work on plain weave foundation

White sampler of pattern darning, cutwork with needle made fillings and deflected element work.
Sampler
, 1839
silk embroidery on cotton foundation Technique: embroidered in eyelet, cross, marking cross, knot, chain, and running (pattern darning) stitches on plain weave foundation Label: Linen embroidered with silk in eyelet, cross, marking cross, knot, chain, and pattern darning stitches

Eight pattern darning crosses and one darning corner. Central cross arranged as a star, surrounded by initial and crowns.
Textile
, late 19th century
cotton Technique: printed on plain weave, glazed

Allover meandering floral design and widely-spaced cartouches with bouquets on a yellow ground with narrow brown horizontal stripes and a geometric fretwork pattern in brown.
Two-tined Fork with Brass Handle
, early 18th century
steel, brass
fork

Two long tines, pointing slightly outwards, rounded shoulders, baluster- shaped neck. Tapered cylindrical handle with round top, engraved floral pattern and rozette on the top. (Initial "A"?)
Letter opener
, 19th century
Ivory

An ivory letter opener with a figure on the handle wearing a cape.
Neckerchief
, 18th century
cotton on linen Technique: cutwork, embroidery, bobbin lace inserts

Square of fine linen with narrow scalloped border of tiny pierced sprig repeat in white cotton. Small flower basket with lace filling stitches in opposite corners. In alternate corners, footed vase containing large rose, leaf, and fine flower detail. "Pauline" above one; "Rousseau" above the other.
Campaign ribbon
, 1904
silk Technique: jacquard woven

Black and white. Inscription: "Democratic / nominee / for / President / 1904". Portrait of Arthur B. Parker. Inscription: "Alton B. Parker".
Bandbox
, ca. 1835
Block-printed paper, pasteboard support

Dismounted hunters with guns, one of whom is seated and the other in the act of shooting, standing. Standing horse, at left. At right, dogs in pursuit. Background of dark trees and sloping ground. Box bottom only, no lid.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper

A repeating design of alternating large and small hanging floral baskets consisting of simple intertwined vines. Upon a striated gray background that becomes increasingly light towards the base. Printed in white, cream, gray, burnt umber and bronze.
Border
, 1770
Block-printed on handmade paper

Border is vertical. Center panel has bunch of roses alternating vertically with branch of apple blossom tied with pale pink ribbon. Small white-edged bands at right and left have small sprigs, buds and flowerlets in vertical columns. Printed on green ground.