biglam/cooper-hewitt-alt-text huggingface dataset:
Title Page
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

Title page featruing jewery designs and strapwork forming a cartouche broadly in the form of a fleur-de lys. Details include snails, butterflies, faceted gems, drop pearls and sea horses. At top, a nude figure within a frame decorated with vases. Below are two winged putti with skulls. The plate is signed, dated, and numbered.
The Upper End of Little Cottonwood Canyon, Wasatch Range, near Ogden, Utah
Thomas Moran, American, b. Britain, 1837–1926, August 13, 1879
Brush and watercolor, white goauche, graphite on gray laid paper
Drawing

Panorama over a cliff edge toward three violet-crowned mountain peaks. Brown earth and rocks in the foreground; sky brushed in with white gouache.
Fragment
, late 17th century
Tin-glazed earthenware

Fragment of a bowl. Pale blue glaze over war, earthenware body. Flowers and foliage painted in cobalt.
Elevation Geometralle de la Fontaine des Sts. Innocents. Erigée dans la rue St. Denis a Paris.
A. Le Canu, French, active 1746 – 1768, mid- 18th century
Etching and engraving on paper
Print

Architectural elevation depicting the Fountain of Innocents in Paris, originally built between 1547 and 1550 by the architect Pierre Lescot (ca.1515-1578) and the sculptor Jean Goujon (ca. 1510-ca.1565). The building is in the French Renaissance style with a lower level made of stone bricks and an upper level with an arcade made of two arches, flanked by Corinthian pilasters, classical figures and sculpted friezes above. A scale for measurement runs along the left side of the building. The title is lettered below in a rococo-style cartouche. The name of the printmaker is lettered in the lower left corner.
Title plate, from Die Folge der phantastichen Scmucksträße (Suite of Fantastic Ornamental Bouquets)
Wendel Dietterlin the Younger, German, active 1610–1614, 1614
Etching on laid paper
Print

Octagonal print of title page showing vegetal cartouche containing title, with insects and fantastic creature wearing a hat.
La Teste de l’Isle du Dragon (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. Views of garden water works featuring basins, fountains, canals, boats, trees, hedges, and trellis/ lattice gate. Figures throughout the grounds. The plates are titled.
Design for a Cornice
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a cornice decorated with ornament motifs including acanthus leaf, bead and bar course, and egg and dart. The plate is signed and numbered.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, figures, mascarons (masks), fantastical animals and birds, foliate scrolls, scrolling leaves (rinceaux), fleurons, and a landscape with a bridge and buildings on the sideplate of the flintlock. The plate is signed and numbered.
Study of Right Hand, Possibly for Portrait of Alexander Hamilton, Jr.
Daniel Huntington, American, 1816–1906, 1864
Graphite and white chalk on brown wove paper
Drawing

Study of a man's right hand holding a book, with his thumb on the cover and his index finger marking a page within.
Banquette de Croisée avec Balcon
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two architectural sills with wrought iron balcony. The top balcony is decorated with a rosette and features below it a mascaron with floral garland. The lower balcony features multiple rosettes and fluted brackets. The plate is signed.
Pair of urns
, 1800–1825
Enameled tôle

Oval in plan, with oval foot and lid with acorn finial. Each with two ring handles held in lion-masks. Brown, with foliage and flowers in red, green and gilt.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1890
Brush and gouache on paper
Drawing

The drawing has been mounted on a recycled board from the Tiffany Glass Co.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on yellow paper
Drawing

On yellow ground, wreath-shaped coral in brick red and yellow with a spiral shell at the bottom and a round design with radiating lines.
Sketch of a Fresco from Pompeii
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper
Drawing

Sketch of a fresco in Pompeii, Italy, depicting a group of tighly huddled classical Roman buildings surrounded by trees and other vegetation. In foreground, several loosely-rendered figures are visible. At right, a three-arched bridge spans a rushing cascade.
Madonna of the Palm Tree
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1520
Engraving on paper
Print

In right foreground, the Virgin seated in three-quarter view. Child upon her knees facing left. Saint Elisabeth seated at left. Saint John kneeling faced to right. Left, mid-distance, a palm tree. In background, a river, houses, mountains.
The Roman Consul Attilius Regulus Fighting a Giant African Serpent
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: Warriors on horseback and on foot attack a large serpent, coiled and rearing at center left. 
Verso: At right, a serpent has been trapped in a cave, the entrance of which is covered by a net. Many soldiers surround it blowing trumpets, beating drums, and readying their weapons.
Button
, late 18th century
Stoneware

1925-2-39-a/f: Six circular medallions in the style of Wedgwood J...
Grotesque with Putti and Manticore
Master of the Die, Italian or German, 1530 - 1560, ca. 1532
engraving on laid paper
Print

Vertical rectangle showing symmetrical grotesque composition. At top, putti wrestle two manticore. Below, a candelabrum motif, two goats, and a mask.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace decorated with ornament motifs including fluting, rosettes, and framing bands of acanthus leaves, lamb tongue, and a central wreath. The plate is signed.
LE CHAT QUI TIRE LES MARONS DU FEU
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Print

A plate from a series of singerie scenes after Huet. A dressed monkey is kneeling next to fire on a hexagonal brick stove. The monkey is holding a chestnut to his mouth. A cat stands to the right of the fire, holding a chestnut. The plate is titled, signed, and numbered.
Fragment
, mid- 19th century
cotton ground, beetle elytra, gold foil strips, gilt sequins, gold metal-wrapped silk thread Technique: plain weave embroidered with cut beetle wings and sequins

Off-white cotton sheer ground with embroidered design of a stylized floral spray with two large blossoms and numerous small ones curving to the left.  The vines are executed in gold foil strips, the small flowers in gilt sequins, and the leaves in beetle elytra.
Frieze
, 1900–1920
Machine-printed on paper

Large scale floral swag with red roses suspended from rustic supports. Fine green line across top edge, wider tan band across bottom edge. Printed in red, green and tan on off-white ground.
Design for Round Table on Clustered-Column Support
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Round top with egg-and-dart molding around edge, raised on support consisting of clustered columns, raised on molded rectangular base terminating in 4 [three shown] scroll-like feet with carved floral rosettes.
Sidewall
, ca. 1810
Block printed on joined sheets

Faux aqua-colored marble brick or ashlar block pattern. A framework of crossed ribbons, acanthus diamonds and pyramid bosses encases each simulated marble block.
No. 126
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1870
Mouth-blown crystal, hand-painted gold
Champagne flute

Mouth-blown crystal champagne flute, hand-painted with gold rims.
Sidewall
, ca. 1870
Block-printed paper

Lozenge or diamond diaper framework with stylized anthemion in center. Printed in purple, light teal, shiny dark green varnish on dark teal ground.
Design for Cartouche with Crown, Two Putti Serving Bacchus, and Two Lions from "Cartouches Nouvellement Inventez"
Charles-Nicolas Cochin the younger, French, 1715–1790, 18th century
Etching on tan laid paper
Print

Cartouche on pedestal, supported by putti with head of satyr. Arms/banners with lions. Lower section- head of a man flanked by two griffins.
Fragment
, early 19th century
cotton Technique: block printed on plain weave

Landscapes in circular medallions framed by large leaves and flowers in a half-drop arrangement. In red and black.
Fringe
, 18th century
silk Technique: plain weave

Yellow, brown and red fringe with a heading and skirt threads tied in loops; every fourth supporting a tassel with wired ornaments.
Bookmark
Thomas Stevens, English, 1828–1888, 1870–1880
silk Technique: jacquard woven

Red ribbon with text at top that reads: "With Kind Regards Mizpah The Lord Watch Between Me and Thee When We Are Absent One from Another." Below are leafy fronds and a small V-shaped scalloped lace border.
Textile
, 19th century
linen Technique: hand woven

Length of fine cream-colored linen has a small bird's eye pattern. Hemmed at ends.
Fragment
, 17th century
silk Technique: uncut, voided supplementary warp pile in a satin foundation (velvet)

Fragment has a design of S-shaped forms turning in alternate directions. Three pieces sewn together.
Costume of a French Turco
, ca. 1880
Graphite, brush and watercolor on paper
Drawing

He sounds a signal and holds the gun in the right hand.
inro
, 1875–1900
lacquer

Five sections. Ji-maki ground with makie depicting trees, waves, rocks and flying birds. Blue cord. Coral-colored ojime, netsuke missing. Interior: nashi-ji. | Case with five sections decorated with scene of trees, waves, rocks, flying birds. Box has a blue cord with coral-coloured toggle or 'ojime' - netsuke is missing. Gold 'nashiji' interior. Exterior: 'Ji-maki' ground
Fragment
, 16th century
silk, linen Technique: twill damask

Repeat of small symmetrical sprigs with two variations of a pomegranate and leaf motif in alternate rows. One very narrow selvage.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Fragment with a diagonal arrangment of small-scale floral sprays. Both borders have oval forms filled with brides. Vrai droschel ground.
Sleeve band
, late 19th century
wool on cotton Technique: embroidered

Sleeve band of grey cotton, embroidered in wool at one side in small scaled geometric pattern, outlined by a running and repeated "T" pattern.
Sampler
, 1828
silk embroidery on linen foundation Technique: embroidered on plain weave

Ornamented with a great variety of detached motifs.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 18th–19th century
linen Technique: needle lace (reticella and punto in aria)
Border

17th century pattern showing the transition from reticella to punto in aria. Border fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Fringe
, 16th century
silk Technique: woven

Red fringe with a heading in plain and soumak weave with picots and red skirt threads.
Fragment of a garment with tapestry inscription
, 946–974
linen, silk Technique: plain weave with discontinuous wefts (slit tapestry)

Band of Kufic inscription in dark brown silk on natural linen. Translation: (in the name of) Allah, the Merciful, the Compassionate..."
The Holy Family with Putti
Claudine Bouzonnet-Stella, French, 1636 - 1697, 1668
Engraving on paper
Print

In a landscape with houses in the background is grouped the Holy Family, attended by flower-bearing putti.
Baptism of Christ
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and gouache, graphite, black crayon, pen and ink on cream paper
Drawing

Christ and St. John standing in a stream, center. Dove in ray of light above Christ's head. Crowd on bank, right. Women, below, center. Mountains beyond.
Beggars receiving alms at the door of a house
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1648
Eching on laid paper
Print

Three beggars, an old man, woman, and small boy, beg for alms at the door of a house. A man, partially visible at the open door, left, places a coin in the woman's hand.
Siege of a City (Part 1)
Albrecht Dürer, German, 1471–1528, 1527
Woodcut on paper
Print

Pictured to the left of Siege of a City (Part 2), Part 1 depicts the city on the left with a prominent citadel and encircled by a wall. The landscape is dotted with vegetation and other buildings on fire. The attacking army surrounds the wall.
Fragment
, 17th century
silk Technique: 4&1 satin damask.

Leafing branch emerging from diagonal log in red and yellow. yellow selvage
Sketch of Figural Group for Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Figures kneeling and praying or rejoicing, possibly a study for a mural of the Ascension. Figure at right with arms raised. Central figure facing away with arms outstretched.
Medal
Pierre Joseph Lorthior, French, 1733 - 1813, 1733–1800
Cast silver

Octagonal. Crowned united arms. Reverse: three cupids holding shield with mongram M.D.
Textile
, late 19th century
silk Technique: 4&1 satin damask with discontinuous supplementary wefts (brocaded)

Red silk satin damask brocaded in gold in a vertically symmetrical design of flowering plants.
Embroidered picture
, early 19th century
silk embroidery on silk foundation Technique: embroidered in stem, speckling and running stitches on plain weave foundation

Winter scene of a rural building with two peasants hauling wood, embroidered in black on a white ground.
Fragment
, 18th century
cotton Technique: printed

Corner of a pattern with floral vine borders and floral vine patterned field.
Designs for Ornament, Roundels, and Watch Keys
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, an oval (possibly case covers), and watch keys decorated with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with mascarons (masks), cartouches, birds, and fleurons. In the upper left, a man seated at a table draws a design onto a piece of paper while smoking a pipe. An ewer and cup are also on the table. The plate is signed and numbered.
Design for a Hunting Trophy
Antoine Watteau, French, 1684–1721, ca. 1735
Etching on laid paper
Print

Design for an ornamental trophy hanging from a tied ribbon. The trophy incorporates a horn, net, dead rabbit, dagger, powder flask, purse, and rifle. The plate is signed and numbered.
Cupid from Amor Arguing with Zeus, After Raphael
Raphael, Italian, 1483–1520, 1550–1600
Red crayon on paper
Drawing

Standing figure of cupid facing right. Copy of Cupid from the fresco, "Armor Arguing with Zeus."
Peacock Vase
Tiffany Glass and Decorating Company, American, 1892 - 1900, ca. 1901
mold-blown, iridized glass
vase

Fan-shaped top tapering into bulbous base.  Green and blue striated swirl decoration loosely following shape of vase, ground pontil.
Le loup et l'agneau
Jean-Baptiste Huët, French, 1745–1811, ca. 1802
cotton Technique: printed on plain weave
Fragment

Brown and yellow fragment shows a fountain with two putti underneath collecting water in a shallow dish. The lower half of their bodies terminates in a scroll-like shape. Along the bottom edge are several ducks with reeds.
L'Oüie
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of a man sitting and playing a guitar in a landscape. He is surrounded by scrolls and floral vines. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
Apollo in his Chariot Transforms Night into Day
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1800
Pen and brown (bistre) ink, brush and gray wash, pale orange watercolor, black chalk [?] on cream laid paper
Drawing

Apollo drives his chariot pulled by four horses across the sky.  He is preceded by Dawn or Day holding torch and scattering flowers.  Behind chariot are female attendants and three allegories of Night amidst stars, crowns, flying bats and owls.  In lower left corner, Diana in front of a crescent moon, hovers above Endymion who sleeps on a small hill amongst trees with his dog and three sheep.  In lower right corner, an ocean with castle in the distance.  Flying putti, some of whom hold garlands, fill the spaces between major scenes.  The textile repeat is indicated in Apollo's cloak which is partially visible in upper and lower center, and in tree which is partially visible at lower left and right edges.
Sketch for a cartoon for cotton printing:The Arts [Les Arts]
B. M. Lebert, 1759–1836, possibly 1815–20
Pen and ink on cream-colored paper
Drawing

Joined horizontally with 1898-21-26A. Two parallel panels, separated by strips indicated to bear fantastic leaves place in alternating sequence, shown in the "style chinois": upper left, two mandarins seated on a bench under a canopy at the top of a flight of crooked steps, the one playing a lute and the other holding a book in his lap, musical instruments on the ground and a dancing figure at the bottom of the steps (symbolizing Music); lower left: a mandarin is seen sculpting a statue of a seated mandarin, under a canopy (symbolizing Sculpture); upper right: a mandarin is seated under a canopy painting the portrait of a seated lady, above, a flight of crooked steps on which an assistant is seen mixing colors (symbolizing Painting); lower left: a Chinaman is chiseling a pedestal, beside him lie fragments of classical architecture, and other blocks are strewn on a flight of crooked steps, above (symbolizing Architecture).
Vase
Louis Comfort Tiffany, American, 1848–1933, late 19th century
"Favrile" glass

Round spreading foot supports ovoid body surmounted by a narrow slightly flaring neck. Decorated with irridescent gold and citron colored segmented and filamented free, generally vertical bandings.
Study for St. Sebastian, Museo Pomarici Santomasi, Puglia, Italy
Lodovico Carracci, Italian, 1555 - 1619, 1599–1620
Black crayon, white heightening on brown gray paper
Drawing

Study of a nude young man, the figure shown from the front, with raised arms and with the left foot standing backwards and higher. Near the right edge a roughly outlined sketch of the greater part of the body of St. Sebastian in a different pose.
Cover
Frances Kingsley Reed, American, 1845–1902, ca. 1870
silk Technique: embroidered on patchwork of woven fabric and ribbons

Patchwork cover made from a variety of woven fabrics and ribbons. Diamond shape in the center with a triangle on each side to form a central square surrounded by twelve squares plus an outer border. Each square contains an embroidered naturalistic flower.
Le Char de l'Aurore
Petitpierre et Cie, Nantes, France, 1770–1848, 1785–89
cotton Technique: printed by engraved copper plate
Textile

Dawn leading the chariot of Apollo, surrounded by Muses,across the sky. Vignettes relating to the story in the rest of the space.
La Chasseuse
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Scene of an elegantly dressed woman, seated on a rock near a stream. She holds a rifle to her left shoulder; at her right is a spear, a horn hanging from the tree, and a net. The landscape is framed by ornamental tendrils, scrolls, and vines. The plate is signed.
Band fragment
, 5th–8th century
Warp; S-spun, Z-twist linen. Wefts; S-spun linen, S-spun wools Technique: slit tapestry

Band with images of fish and people.
Cup and Saucer
Sèvres Porcelain Manufactory, French, established 1756, ca. 1780
soft paste porcelain, vitreous enamel, gold
cup and saucer

A porcelain cup and saucer with floral pattern in gilding.
Book Endpaper Design: Two Paisley Bands
Remondini, Varese, Italy, 19th century
Woodcut on cream laid paper
Decorated paper

Two identical bands of stylized paisley motifs. The teardrop-shaped forms contain elaborate orange and red patterns incorporating leaves and black dots and are positioned against a blue background. Between these two large bands are smaller cream, orange, and red decorated strips; one consists of black dots, an orange background, and red triangle-like forms, and the other contains red and orange flowers against a cream background. A strip containing black horizontal lines appears in the middle of the composition.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace border, floral vine; early 18th century Bruges a Brides
Drawing
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Gouache and graphite on pale blue laid paper

Four flowers and berries with plume-like leaves outlined in white against dark brown background.
Madison Square, New York, in the Evening
Charles Graham, American, 1852–1911, 1882
Wood engraving on paper
Print

Madison Square, New York, in the evening. Snow is on the ground.  The square is illuminated by a cluster of electric lights. Caption reads: The Electric Light in Madison Square, New York. Illustration from Harper's Weekly.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Sketch of a hilly landscape with trees or shrubs.
Portrait of Aunt Alicia McNeill
James McNeill Whistler, American, 1834–1903, 1844
Graphite on cream wove paper
Drawing

Bust-length portrait of a female figure, seated in a chair, with only back of chair visible, facing proper left, seen almost in profile. She wears a cap and glasses.
Fragment
, ca. 1740
silk, metallic thread Technique: 5-harness satin patterned by weft floats and floats of discontinuous supplementary wefts bound on the front by a supplementary warp in 1/3 twill

Long, narrow fragment with a pattern of a shell-like urn containing fruit in metallic and multi-colored silks.
Sidewall
, 1800–1825
Block-printed on handmade paper

On black ground, very dense foliage in blue, green, yellow, with pink flowers.
Border
, 1870–1890
Machine-printed paper

On off-white ground, vertical diamond motif panels of metallic gold, shades of green and orange alternating with vertical stripes of wide pale green, narrow green and narrower orange. Printed one and one-half bands across the width. In the Aesthetic style.
Panel
, late 19th century
silk embroidery on cotton foundation Technique: embroidered in chain, cretan, and buttonhole stitches on plain weave Label: Silk embroidery on cotton foundation

Rectangular panel with deep border at each end with tall flowering sprays; field of coin dots. Embroidered in brilliant red silk floss on undyed cotton.
To My Valentine
, ca. 1810
Chromolithograph
Greeting card

This card depicts two winged cupids at the center with flowers and curved framing surrounding. Above their heads, text in brown: To My / Valentine. One cupid stands on a flower-covered ladder delivering a white envelope with a red heart, as the other cupid looks on, holding the ladder. Flanking them are two die-cut paper vases holding two-dimensional flowers drawn directly onto the card.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Red roses and foliate scrolls. The background shades from light to deep green. The bottom area is filled with a metallic copper pigment.
Moon Face
George W. Shiebler & Co., American, 1876 - 1910, 1885–95
Silver
Matchsafe

Circular, featuring a full moon face on front, reverse features a bat flying among cloud formations. Lid hinged on upper side. Lozenge shaped striker on bottom.
Sugar Bowl
, ca. 1838
silver, gold
sugar bowl

Footed urn-shaped gilt bowl with mascaron handle on each side. Neck has band of large vertical granules. Foot with band of small granules and leaf motif. Everted lip decorated with same band, upon which rests lid with granulation border and artichoke finial. On lid, engraved coat of arms: two dogs holding crowned shield.