biglam/cooper-hewitt-alt-text huggingface dataset:
Wall Barometer Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Design for a wall barometer, before lettering, featuring scrolling leaves (rinceaux), fleurons, rosettes, festoons of flowers, gadrooning, fluting, and a snake-handled vase finial.
From the Posada, Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 3, 1857
Graphite on paperboard
Drawing

Landscape sketch showing a view of an inn or guest house in Guarada, Ecuador, surrouned by cultivated land and mountainous terrain. The corner of a domestic structure with a straw roof is visible in immediate foreground at right. At center, a cultivated yard with crops is visible. Roof of another structure visible beyond yard, while yet another stands on a slope in the distance at right. Scene backdropped by rugged mountain range in the distance.
Design for a Façade
Benedykt Renard, Polish, 1680 - 1726, ca. 1710
Graphite, brush and bistre on paper
Drawing

The upper part of three windows, three bull eyes and a triangular pediment are shown. Two winged genii support a coat-of-arms. Verso: parts of architectural plans.
Viewing of Cherry Blossoms
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene depicts people sitting under the blossoming cherry trees, contemplating life, and enjoying nature's wonders. Two people took a walk and are getting a better view of Mount Fuji from a higher altitude. This is a typical landscape view by Hiroshige, who is excellent at recreating beautiful landscapes of Japan.
Sunset over the Hudson River Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 14, 1870
Graphite on gray-green laid paper
Drawing

Landscape sketch showing a view of the sunset over the Hudson River Valley, as seen from Church's property near Hudson, New York. On a gently sloping hill in the foreground, an evergreen tree is visible at right. In the middle distance at left, the waters of the Hudson River--or possibly a lower, rolling landscape--are visible. Above, numerous wispy clouds are variously illuminated.

Verso: Landcape sketch showing a loosely rendered view of a distant, rugged mountain range--likely the Catskills seen from Church's property near Hudson, New York. In the distance, the undulating ridges overlap one another while sketchy suggestions of clouds hang above.
Sidewall
, ca. 1710
Leather, stamped, painted, silvered

Portion of a larger panel, in varnished silver, blue and red. Strapwork, tulips and grapes.
Menuiserie du Lit à trois Dossiers
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the joinery for a "Lit à trois dossiers" (1921-6-279-3). The plate is signed and numbered.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction fabric inspired by a sixteenth century design in the Cooper Union Museum collection. In dark purple with a pattern of flower-filled urns and pairs of peacocks.
Panel for a cabinet door
, late 16th–early 17th century
silk, metal wire, metal strips, coral beads, cotton, linen Technique: raised embroidery Label: silk embroidered with silk, metal threads and coral beads

Small panel of embroidery in high relief of a tree in an oval with an elaborate framework.  The field is filled by an oak tree with dimensional leaves in shades of green. The trunk and branches are very dimensional, and are worked in silver metallic thread, now tarnished. At the base of the tree is a salamander, also in silver metallic thread. The background shows a landscape worked in pale silks with mountains and buildings, possibly a monastery. From the limbs of the tree hang crutches, a wax leg, and a censer. 
The oval is surrounded by a row of coral beads and two rows of couched metal thread. The framework is embroidered with plant forms; in the two upper corners are coiled serpents, and in the two lower corners serpents emerge from cornucopias. The framework is accented accented throughout with coral beads and edged with a scalloped lace, probably added later.
Fragment
, 16th century
silk Technique: velvet, cut raised pile in a 4&1 satin foundation

Large pomegranite shapes in tan velvet. Striped of green warp in 4&1 satin weave at each selvedge.
Fifth Avenue, Noon
Childe Hassam, American, 1859–1935, April 1, 1916
Etching on wove paper
Print

Fifth Avenue, New York, at noon near the corner of 35th Street. Street scene, heavily trafficked with numerous pedestrians. Corner of building at left.
Two Birds on a Branch of Tulips with Insects
, ca. 1800–1830
Pen and ink, graphite on wove paper
Drawing

Two Birds on a Branch of Tulips with Insects
Incomplete cope hood
, ca. 1750
silk Technique: silk woven with supplementary weft patterning (brocaded)

Incomplete cope hood in white silk figured with floral sprays and brocaded with symmetrical polychrome design showing serpentine plant stems with flowers.
Study for Head of the Madonna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite and black crayon on tracing paper
Drawing

Woman in drapery looking down and to the left.
Sketch of a Woman's Face
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Sketch of a woman's face, with hair outlined. Woman facing frontally, looking slightly above the spectator.
Collar
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Collar with six-point star ground and hexagonal (Lille) ground and leaf ornaments.
Fragment
, 17th century
silk Technique: 7&1 satin with floats of complementary wefts

Polychrome plants, animals and birds on dark blue background. One selvage present.
Study of a Man's Expressive Face
, 18th century
Black crayon with white highlighting on gray paper
Drawing

Vertical rectangle; A man's expressive face seen from the front, grimacing, turning into his right shoulder, shown slightly from above.
Christie's Auction Room
Augustus Charles Pugin, French, active Great Britain, ca. 1762–1832, February 1, 1808
Brush and wash, etching and aquatint on paper
Print

Plate showing Christie's Auction Room from the series 'Microcosm of London.' A crowd stands in a high-ceilinged room, with light streaming in through high windows. Paintings in ornate frames are hung salon-style, with vaguely recognizable classical compositions: an Annunciation, an Adoration, a saint, an equestrian scene, a portrait. A reclining Venus is displayed on the auction stand, and before her a lively and colorful crowd is shown, with detailed dress and caricatured features.
Fragment
, 1750–1800
silk, metallic thread Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Fragment show a piece of a branch in metallic thread with polychrome flowers on white ground.
Fragment
, 16th century
linen Technique: withdrawn element

Border fragment has a design of rounded points enclosing conventionalizezd floral motifs. Edge of tiny scallops. Both ends rounded.
Large Trees on Rocks by a Shallow Stream
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

Large trees stand on rocks bordering a shallow stream, right, beyond which is a village. A man with a mule approaches at the left.
Design for the Cover of the Manhattan Illustrated Monthly Magazine
Francis Augustus Lathrop, American, 1849–1909, 1884
Graphite on paper
Drawing

Woman in drapery seated on bench with scroll in left hand and lamp in right hand, raised above. Title of magazine in block letters, above. Verso: reclining nude.
Fragment
, 14th century
silk, metallic (silvered gilt vellum wrapped around silk core) Technique: compound woven with discontinuous supplementary wefts (brocaded)

Woven silk textile fragment with tangent roundels containing regardant griffins, with a border of stylized floral motifs and symmetrical interlaced stems. In green on rust ground, silver gilt heads brocaded.
Textile
, mid-19th century
cotton Technique: printed by block and engraved roller on plain weave

Flowering branch pattern with large exotic blossoms in the Indian chintz style. Multicolor on an ivory ground with tan stripes.
Plate from "Le Livre de toutes sortes de fleurs d'après nature"
Jean-Baptiste Monnoyer, French, 1636–1699, 1670–1680
Engraving on paper
Book

Plate from "Le Livre de toutes sortes de fleurs d'après nature," book of bound engravings.
Title Page and Design for a Cipher (Interlaced Letters)
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching on paper
Print

Title page for a series of designs for interlaced decorative letters (ciphers, monograms). The title is lettered below the design for the crowned letters A and S, intertwined and comprised of branches with leaves, chestnuts, and flowers. The plate is signed and numbered.
Chef de piece
J-D. Bridel et fils, 1810 – 1813, 1810–1813
cotton Technique: block printed on plain weave with separate blocks for red, blue and yellow

Floral sprigs and floral stripes on a red background. Faded yellow and blue present.
Anfione argon. condotto da Mercurio, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 14
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Amphion, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Trimming fragment
, 19th century
silk Technique: woven

Terra cotta roses on yellow/beige background.
Shawl
, mid-19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

A long shawl with a pattern of large-scaled floral sprays at either end enclosed by elaborate swirling border pattern, interspersed by small sprays. The technique is commonly called Point de Gaze.
Development du bordure pour le portrait du Roy., Deux coins de la bordure..., 5th Plate, pl. 39 in Oeuvre de Juste-Aurele Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-13-a: Only state. Asymmetrical border with center cartou...;     1921-6-212-13-b: Only state. Sheet consisting of four elements of a...
Development de l'entresol et du premier Etage.
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
etching and engraving on paper
Print

1921-6-212-5-a: 2nd state. Central cartouche panel, surrounded by ...;     1921-6-212-5-b: 1st state. Section of building, mezzanine floor sh...;     1921-6-212-5-c: 1st state. Second floor showing fireplace and mirr...
TROISIEME LIVRE de forms Cartels et Rocailles, Ornés de Figures de Modes
François-Thomas Mondon, French, 1709 – 1755, 1736
Album

An album with a series of seven prints (including the title page) featuring rococo ornament within landscapes and interiors with figures and animals. The plates are titled, numbered, and signed.
Album of Prints: Tome 1 of the Oeuvre of Juste-François Boucher, known as Boucher fils
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Album

Album of prints containing volume one of the collected works of Juste-François Boucher, which includes sixteen books of designs for furniture. The album is missing plates: 5e. Cahier, No. 26; 7es Cahier, Nos. 40-42; 10e. Cahier, No. 56; 12e. Cahier, No. 70; and 15e. Cahier, No. 87
Child's sleeping mat (boro shikimono)
, late 19th century
indigo-dyed cotton Technique: pieced and stitched

Child's sleeping mat composed of several layers of indigo dyed cotton fabrics, patched and heavily stitched.
Quilt
, 1900
cotton Technique: patchwork with embroidery using stem, buttonhole, satin and long and short stitches on plain weave cotton, quilted

Patches embroidered with flowers and 'japonaise' patterns all in the same grey/blue thread on muslin foundation. The date 1900 is embroidered in the center and there is a repeating border around the edges. The outline the embroidery patterns is visible under the motifs. Backed with white cotton, quilted in straight lines.
Ceiling paper
Liberty Wall Paper Company, Schuylerville, New York, 1905–1915
Machine-printed paper

Four red roses alternate with four green leaves to make up the repeated, circular focal point of the sidewall, like a pinwheel. A thick circle of negative space surrounds the roses and leaves. The rose pattern alternates with scrolling green foliage that is also circular. Thin green floral motifs connect the scrolling foliage patterns. Printed on a light tan ground.
Sidewall
, 1920
Machine-printed

Incomplete width. All-over design of small flowering branches in colors. Beige ground.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds and 2 purples applied by brush; madder dyed; blue applied over resist; yellow over blue for green; chintz on plain weave

Irregular fragment of a large scale design with tree trunk, flowers and large leaves.
Vase
, 19th century
Etched and engraved glass

Large clear glass vase with etched and engraved floral design
Frieze
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper

Art Nouveau/Mission Style. Alternating small and large wreaths, with vase-like motif insets. Connected by ribbons with torches, floral swags, and folliate scrolls. Top has ribbon and beaded swags. Bottom has stripes and bead-and-spindle pattern. Ground fades from green (bottom) to light green-yellow (top). Background is a layer of dark green vermiculation. Printed in dark red, metallic pink, and two shades of metallic gold. 
Printed in selvedge: C & W (?) 0.257
salver
, ca. 1790
glass

Flat circular tray with raised vertical rim cut with diamonds; tall stem with central knop; domed base with wide flat circular foot; ground pontil mark bottom.
Fragment
, 13th–15th century
wool Technique: woven

Thick border with two selvedges (or loom ends?) Pattern of narrow bands of kufic inscriptions, all alike but in different color combinations: brown on tan, blue on orange, blue on red.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1780
Block-printed on handmade paper

Portion of a repeating motif. A personnage in Chinese garb is seated on a trellised stand in profile. On the ground, at left, a seated figure. Above to the left is a Chinese summer house. Leafy branches and flowers. Printed in numerous colors on pale gray ground.
Sidewall
, 17th century
Leather, paint, gilt

Large-scale flowers and foliage, with scrolling trellis framework.
Designs for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache, graphite on cream paper
Drawing

Eight clusters of daisies evenly spaced,  facing different directions with foliage. Clusters arranged in the beginnings of a diamond shape. Vertical rectangular guidelines in graphite are visible.
Sketchbook Page: Artist at Work
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of an artist at work at an easel, not pictured. Figure is seen from behind, seated on a stool, with palette in left hand and right hand raised.
Verso: Sketch of a landscape.
Toddy lifter (syphon)
, 18th–19th century
Cut glass

Tall neck with rounded knop and lip, 2 triple prism-cut rings; body has facet cutting from shoulders to neck, the rest plain, tapering sides, hole top and bottom.
The Moon, from The Seven Planets
Hans Sebald Beham, German, 1500–1550, 1539
Engraving on laid paper
Print

The figure of the Moon stands, facing the viewer. She holds a staff in her left hand; the crescent moon in her right hand. She is accompanied by Cancer (the crab). At upper left the word "LUNA" and the symbol for silver.
Washington Skyline, Design for Washington Board of Trade Dinner, May 13, 1908
James Henry Moser, Canadian, 1854–1913, 1908
Pen and black ink, graphite on thin board
Drawing

View of the Washington, D.C., skyline from the Potomac. Washington Monument at left and Capitol building, center, with other buildings and a ship, at far right.
Rembrandt with Plumed Hat and Lowered Sabre
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1634
Etching on laid paper
Print

Oval composition. The bust length portrait of a man, turned toward the right. He wears a plumed hat.
Armchair
Gebrüder Thonet, Austrian, founded 1853, ca. 1860
beechwood, rattan

Bentwood armchair with caned seat, two scrolling armrests, circular "stretcher" and four tapered legs.  Armrests on each side terminate in scrolls.
Cane Handle
, 19th century
wood, silver
handle

Round knob on short stem of wood, inlaid with silver. top has a star design; sides, stripes and zigzags in circular bands; stem has perpendicular design of small, conventionalized pattern and diamond in stripes.
"Souvenir of Buffalo, N.Y."
, ca. 1904
Plated metal
Matchsafe

Rectangular, curved top and bottom, featuring raised decoration of rancher on horse in open field with buffalo and mountains in background, rancher has roped a buffalo in foreground, above inscribed "Souvenir of Buffalo, N.Y."; reverse features 2 adult and 1 baby deer in wooded area, with lake and mountains in background. Lid hinged on side. Striker on bottom.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Graphite on paper
Drawing

Sketch of landscape with houses and mountains in the background.
The Gothic Arch
Giovanni Battista Piranesi, Italian, 1720–1778, 1835-1839
Etching with engraving on white paper
Print

Multiple vaults supported on rusticated piers and strengthened by wooden cross-beams. A broad staircase rises to the left. Center right, Calcografia number 362.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Printed two across. Green floral/foliate rinceau design. Printed on background that shades from off-white to pink to off-white. Narrow ribbon-like band below.
Frieze
S.A. Maxwell & Co., 1905–1915
Machine-printed paper, mica flakes

Flitter frieze containing floral bouquet set within medallion, alternating with smaller bouquet, connected by swags. Printed in brown and gold on background similating textile.
Textile
, 16th century
silk Technique: 5-harness satin damask

Short panel of yellow damask with symmetrical design of foliage, flowers and a crown.
Miser's purse
, early 19th century
silk, steel Technique: knotted netting

White silk purse ornamented with cut steel beads in zigzag and diamond patterns. Two steel rings with raised ball pattern, control side opening; tassels of steel bars and beads at either end.
Ornament, Christmas
, 1850–99
Dough

Dog-like animal with black spots, in relief on brown ground with strip of green.
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, seen from the back, turned toward the right. The arms are uplifted, the left incompletely shown.
Border
, 1825–40
Block-printed on joined sheets

Stylized floral and foliate motifs. Printed in black on deep blue ground. Printed three across.
Sketchbook Page: Morning Glory
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of two heart-shaped leaves and the vine of a morning glory.
Hinggi kombu (men's ceremonial wrapper)
, 19th century
cotton Technique: tied resist patterning in warp (ikat) on plain weave

Men's ceremonial wrapper in red, brown, buff, and blue. Central section shows a patola-inspired motif (groups of diamons shaped lozenges interspersed with small circular motifs). Flanking the center on both ends is a row of birds confronted on either side of an upright blue fish; then a wide band of trees: one small with three conical branches, the other large, resembling candelabrum. The outermost bands have the bird and fish motif again. Two widths sewn together. Warp fringe (6in.) at both ends.
Sampler
, 19th century
glass beads and silk embroidery on cotton foundation Technique: plain weaved edged with needle lace

Small strip of white cotton with different beadwork patterns on the edge.
Sidewall
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1830–31
block-printed on polished ground

Gray and green irise or rainbow ground, overprinted with formal symmetrical pattern of scroll-work, leaves, flowers and swags in green, gray and white. Both the background and the printed design are in the rainbow or irise technique.
Fragment
, late 19th century
silk on wool Technique: embroidered on twill weave

Triangular shaped ivory wool shawl fragment, densely embroidered with ivory silk in compartmentalized floral patterns. Chain stitch border with long fringe. 2/2 twill ground fabric which has been brushed, patterned by a tightly plied ivory silk yarn couched with a single ivory silk yarn. The plied silk yarn is looped as it is couched to form a linear pattern with a distinctive quality.
The Right Half of an Alter Tabernacle
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pencil, pen and brown ink with ink wash
Album page

1960-102-8: Vertical rectangle. The left half of an ornamental...;     1960-102-9: Vertical rectangle. The elevation of the right hal...
Border
, 16th century
linen Technique: needlework on gauze weave

Narrow border of heavy net embroidered with a pattern of confronted animals.
Figure Presenting Loaves to a General
Karel Škréta, Bohemian, 1610 - 1674, ca. 1650
Pen and gray ink, brush and gray wash with traces of graphite on cream laid paper
Drawing

Street scene depicting two classical male figure, one with a sword and beard, the other handing the first three loaves of bread.
Abstract blossoms and kanoko pattern
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Thread suspension (itokake), also known as thread links (kanoko) patterns involves sewing thread directly through the paper to hold a dot in the center of the motif. The dot is held in place with four threads. This technique was popular during the Edo period and died out around the mid-twentieth century. The abstract blossoms resemble family crests in the form of a maple leaf. Silk threads have been added to support the stencil structure.
Sidewall - sample
, 1906–08
Machine-printed on paper

On brown textured ground, vertical bands with staggered rinceaux of pink flowers.
Pleated fan
, late 18th century
Painted paper leaf, pierced bone sticks with steel piqués, mother-of-pearl washer

Pleated fan with double leaf. Both leaves are hand-colored paper with an equestrian statue of Portugual's John I in the center, having at each side one of the "Four Parts of the Globe" allegorically represented as a woman with an attendant beast and appropriate scenic detail. Pierced ivory sticks inlaid steel piqués. Some careful repairs have been made to the edges of the paper leaf. Mother-of-pearl washer at rivet.
Coverlet
, 1843
wool, cotton

Coverlet has a design of flowers in octagons covering the central field with a tree and floral vine border. Colors are red, dark blue, green and yellow. Woven inscription reads: "Made by C. Wiand Allentown 1843."
Fragment
, late 18th century
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Sample of "velours miniatures" has vertical stripes of red and black dots alternating with pink woven stripes.
Tangiers
Arnold William Brunner, American, 1857–1925, 1891
Graphite and white chalk on gray paper
Drawing

The ruins of a fortified castle, surrounded by a high wall, situated on a plateau.
Funffte Ausgab seiner vorhabenden werckes...Unterschiedliche Neu Inventirte Verkleiden Zu Modernen und Astonmischen Perpendicul-Uhren...
Johann Jakob Schübler, German, 1689–1741, ca. 1720
Engraving on cream laid paper
Print

Plate 5. Design for a large, free standing case clock with face mounted on large pedestal base. Date, year, month and day displayed. Scene into bedroom at right.
Design for a Pottery Tile Stove
, ca. 1750
Pen and black ink, brush and wash, graphite on vellum
Drawing

Design for a stove made of tiles with painted transfer designs on them—three rows in both top and bottom section of two tiles each—romantic scenes with castles, etc., borders of geometric designs and above two large bunches of fruit.