biglam/cooper-hewitt-alt-text huggingface dataset:
Study for Charity, Faith, and Hope
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Black crayon on paper
Drawing

Charity holds a baby, another child stands beside her. The angel is seated and leans his left arm on her leg. Faith holds the cross on her left knee and leans her right hand on the open Bible. Hope appears as a winged figure in the center, holding the shaft of an anchor, with arms outstretched. Another unfinished sketch of Christ, lower left.
Wooded Landscape, With Two Figures on a Bridge
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

In a wooded landscape a man and a boy bearing a large bundle cross a small footbridge across a low waterfall. A dog runs ahead of them. Low hills in right distance.
Commode
, late 18th century
Walnut

Large two-drawered chest on cabriole legs, light mahogany in color. On right and lift sides, painted scenes of a horseman. In center of each drawer, a vignette of two ladies of vanity. Bronze mounts.
Fragment
, 13th–14th century
silk, metallic Technique: float patterned plain weave with complementary wefts

Four squares, each containing a rosette.
St. Peter, Study for Ceiling, Saint John the Baptist Church, Brooklyn, NY
Leon Dabo, American, 1868–1960, 1902
Charcoal on brown wove paper
Drawing

In circular format, half-length figure of St. Peter, seen in profile, holding two keys and a scroll.
Project for a Fountain
Giuseppe Jarmorini, Italian, ca. 1732 – 1816, 1800–1810
Pencil, pen, ink, Chinese blackwashes. Olive water color. Paper
Drawing

A woman, wearing a helmet and holding fasces with both heads standing in a niche.  Water is intended to be spit out by a female mask on the pedestal.  Basin with round parapet.  Aedicula topped by an attic showing a relief and flanked by obelisks.  Circular pediment with a trophy of arms inside, on top.  Underneath: 3/4 of the plan.  Bottom left: scale: "Scala di/Modula" and "Scala Piedi di Bolog(na)"  Monogram in left bottom corner. Framing as -5187.
The Ancient Gallery
Hubert Robert, French, 1733 – 1808, 1810-29
etching on paper
Print

A view of a long gallery with arcades covered by a wooden roof. In the foreground, figures looking towards the gallery from a large opening in the ruins of a stone wall. The plate is numbered. The signatures are burnished in the lower left and right corners. An early state of this print, now in the Metropolitan Museum of Art, New York City (acc.no. 2012.136.41.10), includes the surviving signatures: ‘Digne Sc' and ‘Bobert Del. Roma'.
Ornament
Jean-Baptiste Huët, French, 1745–1811, ca. 1785
Block-printed on handmade paper

Bouquet of flowers in basket. Printed in colors on blue ground.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Yellow warp with stripes of white weft, then pink weft and then green weft.
On the Road to Tivoli
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A man as in plate 35, loc. cit., walks beside a woman on a donkey. Another woman and a boy are shown from the rear walking.
Two Birds and a Bird’s Nest in a Landscape
Jean-Baptiste Huët, French, 1745–1811, 1772
Etching and engraving (crayon manner) in red ink on paper
Print

Two birds over a nest with eggs in a landscape with trees, foliage, and part of a fence. The plate is signed, dated, and numbered.
Pleated fan
, 19th century
Silk lace leaf backed with silk, mother-of-pearl sticks

Pleated fan. Leaf of black Chantilly linen lace in design showing bunches of flowers between leaf borders. Backed with white silk. Mother-of-pearl sticks .
Fragment
, 17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet)

Three branched ornaments with scrolling leaves. Deep mauve on gold.
Cap crown
, 18th century
linen Technique: needle lace with a ground of loop and twist with twist return

Cap crown of Point d'Alençon with a design of floral garlands framing a central spray and forming an oval. Pattern is interspersed at right and left by an elaborate ribbon.
Plate
Buffalo Pottery, Founded 1902, 1910–15
Glazed pottery

Cream-colored ground with a decorative pattern of a dark blue circle on the edge from which are suspended four designs connected by fine blue lines to a fine blue inner circle, alternating with three brown brown squares, with the Roycroft logo in one panel.
Design for Writing Table with Top Cabinet and Ionic Capitals Atop Legs
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular table top with molded central panel flanked by 2 drawers on either side; raised on 4 fluted, tapering, columnar legs with ionic capitals; central cabinet at rear of top consisting of recessed center flanked by 2 doors having extensions with 3 small drawers on either side.
Plaque
, 1660–90
Gilt copper, wood (frame)

(a) Asia figures and trophies surmounted by Amor or a love putto; (b) Africa, foliate scrolls above an heraldic cartouche surrounded by quivers and flgures below.
Album of Pastoral Scenes
François Boucher, French, 1703–1770, after 1751
Album

Album of rococo genre and pastoral scenes with figures and animals in interiors and in landscapes, after designs by F. Boucher.
Album of Ornament, Gueridons, Braziers, and Ceiling Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1716
Album

Album of ornament designs, including panels, cartouches, braziers, gueridons, and ceilings, by the brothers Alexis and Nicolas Pierre Loir, and published by P. Mariette II, and Nicolas Langlois in several print series, bound with their title pages. Not all the series are complete. The plates are signed and numbered.
Sampler
, 1719
linen, silk, embossed leather. Technique: embroidery in cross stitch, satin stitch, bargello and needlepoint.

Worked in colored silks on a fine, sheer linen background.  Central cartouche with date 1719, flowers, coat of arms, basket of fruits, birds and insects, alphabet and numerals, floral bands; at bottom two bands of bargello work and needlepoint fillings; border of gilt-embossed leather.
Button
, late 18th century
steel

1931-59-328-b: flat, circular buttons with ornament representing ...
Sampler
Elizabeth Wray, 1734
silk, linen Technique: embroidery on plain weave

Long form depicting a house with a path leading up to it.  At the base, a lady and gentleman with a dog.  Alphabets, numerals, floral border.
Sampler
Unknown, 1703
silk, linen Technique: embroidered

Small square sampler with dense stitching in geometric patterns including stripes, chevrons, zigzags, and interlocking diamonds. Inscription: ASH and 1703.
Border
, ca. 1860
Block-printed

Central band of linked quatrafoils with inset floral boss. Band of architectural molding with bead and reel above and below. Printed in brown, tan, metallic gold and gray on white ground.
"Full of the D"
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, copyrighted 1888
Silver
Matchsafe

Rectangular, rounded corners and sides, featuring raised relief of devil poking his head and hand through a jagged or torn edged reserve, inscribed "Full of the D" on upper left of lid, just above his head. Reverse features raised relief of hand bursting through small torn edged reserve, clutching three burning matches, also visible is devil's tail bursting through  area to the upper-left of hand, interwined around the matches. Lid hinged on side. Striker in recessed groove on bottom.
salt
, ca. 1800–30
glass

Oval-shaped bowl on spreading faceted stem on thick diamond-shaped base; cut serrated top edge, sides molded with diamond and fluting pattern, bottom of base molded star pattern.
Sidewall and border
, 1855–65
Block-printed on paper

a) Diamond diaper pattern with bright blue crosses at intersection of lines. Reserves of ungrounded paper outlining pattern, diamonds filled with octa-pour on cream color; b) Bright blue band with red jewels, brown shaded and patterned bandings.
Sketchbook Page: Sleepy
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of a small child seated on a woman's lap, rubbing his eye with his hand. The woman holds the child; her face is not pictured.
Annie, Seated
James McNeill Whistler, American, 1834–1903, 1858–1859
Etching and drypoint on cream laid paper
Print

Portrait of Annie, daughter of the artist Francis Seymour Hayden. She is shown, seated, facing front and looking down, with her hands folded in her lap.
Fragments
, 17th century
silk on linen Technique: embroidered on plain weave

Mughal-style fragments of embroidered silk on linen. Design shows man with dagger on horseback surrounded by plants and animals.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper, liquid mica

Trellis pattern composed of circles and squares. The squares are filled with purple and gray flowers, while the circles and figure eight shapes are purple flowers and green foliage. Printed on an off-white ground.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground molette printed in grey zig-zags which form moire pattern. Overprinted with sprays of roses and wild flowers in shades of dark red and white, form being given to the white roses by means of tiny dots. Trailing white ribbons, outlined by dots, connect the design elements.
Ceiling paper
Kayser & Allman, 1905–1915
Machine-printed paper, liquid mica

Alternating scroll medallions with three pink flowers and foliate vining medallions with two pink flowers; connected by flowers and foliate scrolls. Cream ground. Printed in piniks, green, white mica and gold mica. Printed in selvedge: "Philadelphia" "New York" "Kayser & Allman" "Chicago" "Minneapolis" Pattern number "1130"
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Acanthus scrolls form a square trellis pattern. Printed in red, green and mica.
Border
, late 19th century
raffia Technique: plain weave embroidered with stem and pile stitches

Long narrow band made from two shorter pieces stitched together. All natural raffia color, in a creamy tone.  Three pattern areas of geometric interlacing of alternating bands of textured pile embroidery and stem-stitch embroidery. The areas are separated by solid bars of pile.  Long edges are hemmed, with decorative buttonhole stitch along one long edge.
Border
, early 18th century
linen Technique: needle lace

Scalloped border with foliated and floral forms.
Fragments
, 18th century
cotton Technique: resist-printed on plain weave

Eight pieces, in irregular shapes, of resist-printed cotton, with a design in blue on a white ground.  Under the leafy branches of a large tree appear two Chinoiserie scenes. In one, a line of figures in Chinese costume appears: a man with crude plow, a man arranging flowers in vase, a man playing a wind instrument, a man behind a table with a fly whisk, a man in large hat with his hand upraised, and a woman with flower standing before a pavilion in which is seated a man in wide hat.  In the other, two hunters with bows and arrows are pursuing an ostrich and a stag.  Chinese pavilions appear in the background.  Two cows are probably associated with man with the plow.  Above these scenes, the broad limbs of the tree stretch from left to right; in them appear a monkey and a squirrel.  
The design is decorated throughout with lines of white dots, either emphasizing line of growth of leaves or form of a dress, or added as extra decoration.  In the island, supporting the scenes, there are curved lines of dots, of decorative character, following the lines of these islands.
Sidewall - sample
, 1906–08
Machine-printed

Stylized floral stripe; groups of three roses, in mosaic or stippled design, on spotted background. Printed in light green on medium green plaid background.
Textile
, 18th century
silk, metal Technique: embroidered on plain weave

Panel with polychrome floral or cone forms on a gold background; complementary weft 3/1 plain weave. The panel is enclosed by four pieces of bias-woven borders flowers and birds on a metal ground. The guard strips are pierced silk satin. The entire panel is backed with a floral block print on cotton. The edge is light brown with twill woven silk fabric.
Two Cones, plate H. iiii in Persepctiva. Corporum Regularium
Wenzel Jamnitzer, German, 1508–1585, 1568
Engraving on white laid paper
Print

Two cones; left composed of two spirals; right composed of woven strips and squares.
Cap streamer
, mid-18th century
linen Technique: needle lace

Design consists of asymmetric floral sprays bordered by scalloped ribbon, crossing at intervals and dividing pattern into compartments.
Border
, ca. 1850
Machine-printed and flocked

Stylized rosettes connected by four bunched ribbons reserved in a red, black and pink-colored flocked ground. Red is the basic color of the flock. There is a gray and white ground in the reserved areas which continues the pattern painted on the flock. Unique in this respect.
Ceiling paper
, 1875–1910
Machine-printed

Diamond-diaper or trellis design. Stylized four-petal floral motif in each grid, with quatrefoil in each trellis intersection. Printed in white mica on white ground.
Frieze
, 1905–1915
Machine-printed paper, ribbed ground

Large medallions containing floral bouquets, alternating with smaller bouquets. Background simulates moire. Printed in red, white, green and metallic gold.
Shawl
, 1850–1870
wool Technique: plain and interlocked twill tapestry; pieced together Label: plain and interlocked wool twill tapestry, pieced together

Long rectangular field with lobed black central medallion with two dealer's marks embroidered in white silk. Great variety of intertwining floral bands and fields and very attenuated curling cones.
Two Hounds at Play
William Hunt Diederich, American, b. Hungary, 1884–1953, ca. 1920
Brush and black ink, white gouache on light brown paper
Drawing

Drawn silhouette of two hounds running, their bodies elongated and limbs extended. They face towards each other, their bodies overlapping and their noses pressed against each other, tongues hanging out of their mouths.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On light gray ground, trellis in gold with beaded border and gold floral motifs at interstices.
Cover
, 19th century
Printed and embossed cardboard.

(A) Horizontal rectangular package. On the diaper patterned embossed face, the Wiss trade mark; underneath is printed "Over One Hundred Years of Quality".  (B) Smaller version of A.
Lilium Tigrinum Flore Pleno, Plate 27 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Lilium Tigrinum Flore Pleno"  from A. C. Van Eeden's "Flora of Haarlem."
Towel
, 19th century
silk embroidery on linen foundation Technique: embroidered in cross, back, double running, four sided, and deflected element work on plain weave foundation; end with knotted fringe sewn to towel

Bands of withdrawn element work and embroidered motifs in blue and brown.  Elaborate fringe and tassels at one end.
Textile
, 1700–1725
cotton Technique: mordant painted and dyed plain weave (chintz)

Panel of chintz with a large scale, symmetrical arrangement of curving bands forming arcs which frame stylized plant and flower forms; heavy broad leaves cross the arcs, projecting into adjoining design areas. The curved bands and many of the parts of the leaves and other design areas are painted with fillings: dots, minute squares, and triangles in precise arrangements. In the arcs, areas of small scale, hexagonal-sided net suggest the ground of lace, with heavy points at one side and the inner sides of the arcs edged with fine points. The colors are predominantly red, soft green for leaves and centers of stems; yellow, violet, and some blue occur; some overpainting of blue lines on red leaves. Much of the painting of the small fillings is in brown.
Design for a Capital
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1640–50
Pen and brown ink, brush and wash on cream laid paper
Drawing

Design for a composite capital, including a putto between the volutes.  Above is a sculpted block showing a seating griffin and standing putto.  Elaborate penmanship inscriptions with flourishing terminals.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1900
Machine-printed paper

Cluster of three large red roses in green leaves, with one red flower at the base. Rows of five red flowers connected with each other by wavy green area. Olive green grillwork and honeysuckle motif. All on textured beige ground.
Miser's purse
, early 19th century
silk, metal Technique: netted

Netted dark green silk ornamented with cut steel beads in a pattern of dots and bands in diamond patterns. Two steel rings control side opening. A fringe of steel beads at one end; a steel bead tassel at the other end.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper, liquid mica

Borders pritned two across the width. Alternating taller and shorter foliate medallions, connected by foliate scolls along top. Printed in shades of blue on blue ground.
Border
, 18th century
linen Technique: bobbin lace, discontinuous tape

Border of large scale floral forms running in a serpentine pattern.
Border
, 1700–1750
linen Technique: needle lace

Floral and foliated garland interspersed by inversed diagonal bands at repeated intervals.
Figure of a Man: Study from Life
Agnes Blackwell, 1887
Charcoal on paper; watermark
Drawing

Vertical rectangle. Full-length figure of a man, facing left in profile. Almost nude, the figure is in a striding posture, his hands crossed behind his back. Signed in charcoal, lower left: "Agnes Blackwell/Nov. 1887."
Frieze
Becker, Smith & Page, Inc., founded 1899, 1905–1915
Machine-printed paper, liquid mica

Vining poppy swag along with vining blue floral swag across center of panel. Blue floral swag across top of design with band of white flowers across lower edge. Printed in pink, blue, green and white on off-white ground.
Sketches in Siena
Arnold William Brunner, American, 1857–1925, 1883
Graphite on paper
Drawing

Details of architectural mouldings, profiles. Flask of vine, with dimensions indicated, upper left. Tower, right. Profile, lower center.
Two-Tined Fork with Porcelain Handle (Paired with Knife)
Saint-Cloud Porcelain Manufactory, French, active by 1693 - 1766, ca. 1730
soft paste porcelain, vitreous enamel, steel, silver
fork

Two long curved tines, rounded shoulders, baluster-shaped neck. Silver ferrule with horizontal bands. Tapering white porcelain handle with dark- blue floral and scrolled decoration. Button cap missing.
Wallpaper Design: Reconciliation of Venus and Psyche
Merry-Joseph Blondel, French, 1781–1853; active Paris, France 1802–1851, 1815
Graphite, black, white chalk, brush and black ink on brown coated paper mounted to paperboard
Drawing

Venus and Psyche embracing at center of composition. Cupid leaning on Venus' throne looks on at right foreground.  Three unidentified maidens in right background.  Neoclassical architectural setting includes pavilion with Ionic columns and arcade with Doric columns.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Alternating large and medium floral and scroll medallions with floral vining. Background of white mica dot hexagonal grid. Beige ground. Printed in pinks, lilac, greens and white mica.
Plate 12, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for two pendants.  At left, two creatures with eagle heads below a basket of fruit. At right, strapwork with putti and masks.
Textile
Schwartz-Huguenin, mid-19th century
cotton Technique: printed by engraved roller and block printed; highly glazed

Sample in similar pattern to A with grey striped ground, vermicular pattern in grey, blue vine and white flowers, and stripe over-printed with close clusters of pink and red carnations, and smaller flower, rgeen foliage.
Dish
, 1761
Glazed earthenware

Earthenware dish decorated with floral pattern at center and around rim in yellow, red, and green outlined in black, with inscription in red in center band.
Fork
, ca. 1720–40
Brass, steel

1985-103-279-d: Knife has straight upper edge, lower edge tapering...;     1985-103-279-h: Two tines fork with  V-shaped join, baluster-shape...
Sidewall
Thomas Strahan & Co., Manufactory, 1900–1920
Machine-printed

On cream ground, landscape design printed in shades of beige and brown. Setting includes trees, garden stairs, urns and columns.
Trophy with Bucolic Implements, Plate 3 from "Suite de différentes Attributs, Trophées, et Groupes de fleurs," Suite II
Pierre Ranson, French, 1736–1786, 1778
Engraving on paper
Print

A drum, bagpipes, crook and other implements of the country are tied with rubbons and garlands of flowers to form a trophy. Below, engraver's and designer's names. From: "Suite de differentes Attributes, Trophées, et Groups de Fleurs," suite II, planche 3.
Grotesque Design
, early 17th century
Charcoal, pen and ink on paper
Drawing

At center, a vertical rectangle with strapwork escutcheon decorated with a helmet and festoons. On either side, a candelabrum with harpies. Below, a frieze with satyrs.
Decorative door boss and nail
, 15th century
Wrought iron

Gadrooned hemispherical boss. Nail has gadrooned mushroom-shaped head on square shank.
Buttons
, late 19th century
bronze

three bronze buttons with antique finish showing crowned head, with IMPCPOSTUMUSPIAUC

Component -b is on Cooper Union Exhibition card 8
a and e- on card 42
Study of the Feet of a Reclining Woman
Daniel Huntington, American, 1816–1906, 1840
Graphite on off-white wove paper
Drawing

Study of the soles of the feet of a reclining woman.  Parts of right leg and the bottoms of both feet are shown.
Stage Design, Council Room in Two Gothic Styles
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and brown ink, brush and gray wash, graphite on wove paper
Drawing

Horizontal rectangle. Interior of Gothic council room in two versions with rows of seats on either side.
Study: Two right hands, of a woman
Carlo Bononi, Italian, 1569–1632, 1575–1600
Black crayon and white heightening on rough brown paper
Drawing

Horizontal composition of two right hands, one above the other. Both are seen from above and turned toward the right with a slightly altered position of the fingers. On the reverse a part of a hand is on the left and the upper part of an engine or optical instrument is on the right. Written on top: "N. 30. Io Aless. Maggiori comprai in Blog. li 8. 8bre. 1795."
Project for a Holy Water Font
, 1790–1820
Pen and ink, brush and wash on paper
Drawing

Above the bowl is a representation of the Holy Family between two volutes. Above, a cross.
Drapery Study for "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1844–45
Graphite on cream wove paper
Drawing

Prostrate or kneeling figure shown from the waist down. Drapery over legs and foot in foreground, with knee at right.
Peña de Bernal, Mexico
Frederic Edwin Church, American, 1826–1900, February 1890
Graphite on off-white wove paper
drawing

Landscape sketch showing a view of the monolithic prominence known as Peña de Bernal in Mexico, possibly viewed from the town of San Juan del Rio. Situated in the distance at center left, the rock monolith rises prominently out of a rugged, rolling landscape. The mountain is narrow in form and heavily shaded.
Design for a Woven or Embroidered Corner Motif of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800-1825
Brush and white gouache on glazed tracing paper
Drawing

Trophy composed of a winged and doubled pine motif with an oak bough on top in an angel of lines.
Knob
, ca. 1795
brass
knob

Repousse head with simple mouldings; threaded bolt on back.
Porte d'Appartement avec son Profil.
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Apartment door design with a cornice decorated with lamb tongue, egg and dart, and outset square motifs. The frieze of the door has oak leaves and acorns surrounded by a frame of lamb tongue. The plate is signed and numbered.