biglam/cooper-hewitt-alt-text huggingface dataset:
Panel
Bannister Hall Printworks, 1806
cotton Technique: block printed on plain weave, glazed

Short curtain panel printed in a multicolored design of a detached floral pattern showing chinoiserie influence. In body of the curtain, a wide border of pavilions, boats, people in Chinese dress. Border is printed in one piece with the curtain. In shades of red, blue, violet, yellow and green (blue over yellow).
Fragments
, 17th century
silk Technique: supplementary warp forming raised pile in satin foundation (velvet)

Vertical and diagonal bars and dots in green on a red background.
Border
, mid-18th century
linen Technique: bobbin lace (Mechlin style)

Mechlin lace border worked with a design of concave and convex-sided medallions with branching floral sprays alternating with butterflies. Slightly curved edge.
Drawing
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

Seated at the foot of a tree upon mound of earth, Apollo (?) Orpheus (?) sings and plays the lyre. Girls listen in the right middle plane, young men stand on a lower level in the left middle plane. Mountains and wooded landscape.
Coutances
Francis Augustus Lathrop, American, 1849–1909, ca. 1892
Graphite on brown paper
Drawing

Cathedral center, surrouded by trees and houses. Rooftops in foreground.
Ornament, Christmas tree
, 1850–99
Dough

S-Scroll
Fragment
, late 18th century
wood, gilded

part of mirror surround
Fragment
, 1750–1800
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Slender curving green stems so interlacing and crossing as to divide the ground into four-sided areas. Each stem terminates in three fantastic blossoms.
Cape
, 18th century
silk, metallic thread Technique: embroidered on satin weave

Cape for an altar figure in pink satin embroidered in silver thread in a flower and foliage design. Scattered small detached flower design. Edging of narrow silver lace.
Textile
Bromley Hall, Middlesex, England, 1712–1763, late 18th–early 19th century
cotton Technique: printed by engraved copper plate on plain weave

Panel, once part of a valance, and small fragments of white cotton with large, scenic design printed in red. Design is incomplete and shows a central pillar twined with a grape vine. At the base, a woman in flowing robes over armor is seated with one hand on her breast, the other pointing to the right. Beside her stands a young man, Bacchus, a wreath of grapes in his hair, the thyrsus entwined with grapes in his left hand, and in his right hand, a wine cup which he offers to the woman. At back, architectural details such as a lighthouse, a galley under full sail, with oars. At right, a rustic scene of a girl dancing while a piper plays. On Component B, lower right, a naked boy crowned with grapes on the back of a leopard. Additional details include a wine pitcher, vase, foliage and birds.
Peep-show, Vue de Florence Prise de Vaga Loggia, 19
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Plate 4, Decoration de Cheminée pour un grand Apartement
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

A mantelpiece, slightly projecting with a mirror above. Upper part of frame embellished with scrollwork, female mask and two birds. Tapestries decorating adjoining paneling. Below, profile of wall molding with legend. Inscribed along lower margin: "Decoration d'une Cheminée, pour une Salle ou Cabinet d'assemblée, tendu de tapisseries"; lower right: "Mariette excudit"; upper left: 4".
Figure Study
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream paper
Drawing

Half-figure with bare chest. The head leans on the right hand and is turned toward the left shoulder. The right elbow and left hand lean on a squared surface.
Fragment
, 19th century
silk Technique: compound woven with supplementary weft patterning (brocaded)

Dark brown ground has three rows of fan shapes with different patterns with small cloud forms in the negative space. The top row of fans has cloud forms in taupe and blue. The center row of fans has a floral and geometric pattern in taupe and violet. The bottom row of fans has two flying birds and clouds in taupe and blue.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a pattern of a curving leaf with a small round bud.
Fish Market, Antwerp
Thomas Shotter Boys, English, 1803 – 1874, 1839
color lithograph on paper
Print

A: The fish market at Antwerp. | B: The Hospice des Vieillards in Ghent.
Mill House by a Stream
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Sketchbook drawing of a millhouse on a stream. The building is at center, the stream running in front of it. Bridge at right and trees beyond.
Peep-show, Vue et Perspective du Palais et Jardin du Doge à Venise, Giardino, Gartea, 12
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Cooper Union Museum Lace Study Card
, 18th century
linen Technique: needle lace
Fragment

Fragment of Argentan lace showing a group of three ornamental leaves or feathers.
Tiraz fragment
, 10th–12th century
linen, silk Technique: slit tapestry with eccentric weft

Tiraz fragment with a multicolored band with an Islamic inscription and rosettes alternately containing a bird and a flower. Stitched to a fragment of plain weave natural linen.
Study for figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1899
Pastel crayon, brush and gouache, graphite on paper
Drawing

A male figure with wings stands, arms raised and draped in cloth, in front of a night sky full of stars.
Paul et Virginie
Jean-Baptiste Huët, French, 1745–1811, 1802
cotton Technique: roller printed on plain weave
Panel

Scenes illustrating the novel "Paul et Virginie"; two women with babies, Paul and Virginia as children sheltering from a storm, Paul clinging to Virginia and the shipwrecked Virginia. In red on white.
Les Chinois
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1810
cotton Technique: roller printed on plain weave
Fragments

Fragments showing part of the harbor at Yangchow and other scenes. 'A' comes from the start of the and images of the lashing lines which attached this cloth to the header are visible. In purple/brown on white.
LE GALANT
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation framing a central vignette of a well-dressed couple in a landscape, with the standing man holding out a bouquet of flowers to a seated woman who brings a folded fan to her face. The scene is framed by caryatids, a theatrical mascaron, drapery, vases, and scrolls. The plate is signed.
Plan and Elevation for the Chigi Chapel at the Basilica of Santa Maria del Popolo
Raphael, Italian, 1483–1520, ca. 1652–1655
Engraving, pen and ink on paper
Print

Plan and Elevation for the Chigi Chapel at the Basilica of Santa Maria del Popolo, designed by Raphael and updated by Bernini.
Powdered
Morris & Co., London, England, designed ca. 1874, printed ca. 1934
cotton Technique: printed on plain weave
Textile

Gray, blue and red flowers scattered over a field of finely-drawn green foliage, on an off-white ground.
L'Autonne
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a central oval depicting a scene of figures harvesting grapes. At the top of the oval is a platter with a woven bottle, fruits, and a wine glass. Winding around the oval are grape vines and clusters; below the oval is a satyr-head mascaron. The plate also features ornamental elements such as scrolling acanthus leaves and reeds. The plate is signed.
Arcadia
May Morris, British, 1862–1938, 1886
Block-printed paper
Sidewall

Repeat floral pattern of long leafed stems and blossoms in gray-blue on cream ground.
Study of a Man
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man's head and torso seen from the front with his head and eyes turned slightly to the left. He wears a big hat with shoulder-length curly hair. His jacket has a button. His hat and left shoulder extend beyond the double-lined frame to the platemark. The plate is signed and numbered.
Reproduction textiles
, late 19th century
silk Technique: compound satin weave

Ground in satin weave with vertical stripes of various widths. Some stripes in fancy weave. Ivory silk weft forms a design of small-scale spray of roses and fine dots. Each fragment has a different colour scheme - all in pastels. A/ green and pink, B/ pink and blue, C/ pink and green, D/ blue and pink. A/B/C/, have both selvages present. D/ has left selvage present.
Asterione argon condot da Giove fulmina, from Vessels of the Argonauts for the Wedding Celebration of Cosimo de' Medici in 1608, plate 1
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Asterione, emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Fragment
, ca. 1750
wood, painted and gilded

Portion of a carved Venetian moulding, painted cream, green and red; flowers and fruit with running foliage.  Scrolled edge.
Cap
, 19th century
linen, wool Technique: satin stitch embroidery on plain weave, bobbin lace

Woman's cap embroidered in characteristic design of open flowers and birds with floral sprays in beaks.
Border
, 1765–75
linen Technique: needle lace with 6-sided reworked ground

Border with a design of floral sprays bordered by foliated scroll work.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Machine-printed on embossed paper

Aesthetic-style design, with chrysanthemums and other flowers, printed against a textured gold ground.
Seated Bodhisattva
, late 19th century
Silver
Matchsafe

In the form of a Bodhisattva, draped in loose clothing, seated on a lotus flower and assuming the Lotus position for meditation, with arms resting on crossed legs, thumb and forefinger of each hand forming a circle in front; head and shoulders (lid) open to right. Striker on bottom.
Embroidered picture
, ca. 1825
silk embroidery with paint on silk foundation Technique: embroidered in running, satin and stem stitches on a satin foundation

Two children, one holding a fan, with a dog in front of a Georgian building. Framed with an eglomisé mat and a gold frame.
Border
, 1800–1835
Block-printed and flocked on paper

Main central band consists of gathered white flowers entwined in rinceau of large ocher laurel leaves. Band of petite black leaves on either side of rinceau. Leaf-wrapped rod along either edge. Rust-colored flock background.

H# 295
Umbrella or Cane Handle
, ca. 1900
steel, pearl
handle

Umbrella or cane handle.
Kindergarten Cut-Outs
The Schmitz-Horning Co., Cleveland, Ohio, 1905 - 1960, 1906
Chromolithograph on paper
Decorative panels

Animals outlined with thick black line. Farm and domestic animals, including dogs, chickens, rabbits, bird and chipmunk or squirrel. Printed in colors on a green ground. The paper could be applied as is forming a frieze or the animals could be cut out and pasted to the wall or pinned to a fabric wallcoverings.
Fragment
, 18th century
silk Technique: plain compound weave

Geometrical design in green, tan, yellow and blue.
Fruit Knife with Mother-of-Pearl Handle
François Nicoud, French, active Paris ca. 1875-1890, ca. 1890
gold plated, silver, mother-of-pearl
knife

Scimtar or saber-shaped blade with curved shape with swirling pointed tip. Surface gold plated and adorned with engraved Japonesque decoration. With geometric pattern at top, with woman in kimono in central reserve, and vine motif deocrating base of blade. Reverse side of blade devoid of decoration. Banded gold plated ferrule leads to mother of pearl handle, decorated with carved diagonal fluting, slightly widenning to rounded terminal.
Sidewall - fragment
, 1870–90
Machine-printed

Many small pieces of two different designs: a) largest piece, Aesthetic style with very dense pattern. Large foliate medallions with stylized foliage and berries or fruit. Printed in red, yellow and tan on a yellow ocher ground; b) appears to be another Aesthetic style pattern, with small-scale vining floral and berries. Printed in red, green and yellow on taupe ground.
Sketchbook Page: Artist from Behind
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: At right, figure seen from behind from the waist up, likely an artist, holding a pad or palette in left hand with right hand raised. At left, waves and sun, oriented differently. 
Verso: Landscape with sun, possibly with boats in foreground.
Sampler
Mary Soveli (?), English, early 18th century
wool embroidery on linen foundation Technique: embroidered in cross, running, back, star, rococo (Queen) and herringbone stitches on plain weave foundation

Bands of pattern ending with the verse: "When this you see remember me Mary Soveli" and alphabet.
Cravat end
, 1695–99
linen Technique: needle lace Label: Linen needle lace

Cravat end with many figures engaged in musical pursuits, including a woman playing the organetto or portative, a man playing the cello, a man playing the recorder or flute, and several men and women singing. Surrounded by foliage and rocaille decoration.
Prunus Brigantiaca
J. N. Joly, French, active 19th c., ca. 1820
Engraving, brush and watercolor on paper
Print

A vertical twig with leaves and yellow fruit - three apricots or plums. Lower left, a cross-section. Title in Latin and French, and the artists' names below.
Pomade Jar (Pot à Pommade or Pot à Fard)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, 1755–1765
soft paste porcelain, vitreous enamel
jar

Lobed body painted with a large floral spray. Dome lid topped with a fruit, pink at rim.
Sidewall - sample
, 1906–08
Machine-printed

Floral stripe design. Large-scale rose set between stripes. Printed on green background.
Emigrant Arrival at Constitution Wharf, Boston
Winslow Homer, American, 1836–1910, October 31, 1857
Wood engraving in black ink on paper
Print

Illustration on first page of issue, showing emigrants from Europe being greeted by relatives and friends.
Textile
, late 19th century
silk on linen Technique: embroidered on plain weave

Embroidery in dark red silk forms the background with the design outlined in back silk reserved on the plain weave foundation cloth. repeating motifs of two birds facing an hour-glass shape with stylized plants on top alternating with a plant form at the bottom of which are two small animals facing each other. Small birds face the large birds. Border of elaborate plants.
Band
, 17th century
linen, silk Technique: needlework on gauze weave

A band of multi-colored floral forms on gauze weave foundation.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square, molded tile of white clay, reverse has impressed set of double-line frame. Face is decorated with all-over daisy flowers under superimposed circular frame of narrow brackets; glaze pale brown crackle.
Creamer with Monogram and Diamond Lattice Pattern
Carl Thieme Potschappel Porcelain Manufactory, German, established 1872, ca. 1901
hard paste porcelain, vitreous enamel, gold
creamer

Cylindrical body and domed lid with gilded flower finial. Flower wreath with basket. Wide, short spout.
Textile
, early 17th century
silk Technique: satin weave

Brown panel with multi-colored small scale designs and flowers.
Foliate Arabesque with Rodents
Henri Sallembier, French, ca. 1753 - 1820, 1650–1700
Brush, water color, gouache on vellum
Drawing

Single scroll of a foliate arabesque, with four rodents shown climbing over the vines, and a snake curled about a tendril, beneath one rat.  Copied motif from Raphael's Vatican loggia.
Box and cover
, ca. 1800
glass

Flat circular box each side slightly domed and shallowly cut with star pattern with hatching and cross-hatching in background, thin copper mount joining the 2 glass sides.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Almost full figure of a young man in costume, standing, turned slightly toward the right, the head looking to the left. Briefly indicated, emphasis on drapery.
Sidewall
, 1905–1915
Machine-printed paper

Very subtle pattern appearing like stylized roses, printed in tan on tan ground.
Blossoms and Banana Leaves
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Cherry blossoms and banana leaves, also in the shape of blossoms, overlap one another. This stencil is exaggerated and stylized, creating a bold and modern motif. Silk threads are added to support the stencil structure.
Dianthus Motif
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

The dianthus flower or wild carnation (nadeshiko) is a popular motif in Japan. In Latin "Dios," meaning gods, and "Anthos," meaning flower this is the flower of the gods. Typically worn from April to October it is also associated with women and love. Maroon, crimson, scarlet, pink, and lavender are popular colors with this motif.
Incense bag (Costal para incienso)
, 19th century
wool Technique: doublecloth

Large brown and tan shoulder bag with a star surrounded by smaller stars. Top of bag is braided.
Card case
, 19th century
leather, metal Technique: embroidered

Envelope-shaped case with embroidery in conventionalized floral design and initials F.M., in couched silver thread on red leather. Pieces of leather divide interior into four pockets. Clasp of silver filigree.
Dessert Fork with Capricorn Beetle
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form branch with small twigs terminating in buds and long leaf. Capricorn bettle applied diagonally on lower portion of leaf, with antenna wrapped around on either side of its body.
Textile
, late 18th century
cotton Technique: block printed on plain weave foundation

Medium scale pattern of exotic, feathery foliage and flowers, many containing fill patterns. In black, blue, yellow, and several shades of purple and red on a white ground.
Sidewall
, 1850–55
Block-printed, stamped gold foil, paper

Two incomplete widths, with light gray ground, joined. Against one width is stamped in gold, with dull red details, the single motif of an urn with flowers, supported by a lambrequin and opposing scrolls and vines.
The Great Horse
Albrecht Dürer, German, 1471–1528, 1505
Engraving on white laid paper
Print

The large horse stands in the foreground, facing left; behind him stands a soldier, wearing a helmet and holding a halberd; the ruins of a building are visible in the background.
Sidewall
S.A. Maxwell & Co., 1905–1915
Machine-printed paper, liquid mica

On light brown ground, scrolled motifs in white, light blue and dark green-black topped with cluster of white roses.
Four of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Four of Spades playing card from a pack of transformation playing cards. Female figure and child depicted in outline, the woman seated on a stool at right with a small child standing on her lap. The woman wears a long dress and a head scarf, the black symbol of the spade covers her face. A few facial features are indicated, depicting a stereotypical black mammy figure. The spade at left is integrated with the boy's image so that it appears as a hat. The two spades below form the cut-out decoration in two stools.
Casket with hinged lid
, mid–late 18th century
Enameled copper

Rectangular casket with convex sides and lid, and concave bottom. Opaque white enamel, with raised diaper and scroll pattern, surrounding oblong cartouches painted with pastoral scenes in rose camaieu. Plan white counter enamel. All edges mounted in scrolled copper gilt; lid piano-hinged; thumb piece bow-shaped.
Drawing: A) Personification of charity, B) A terrified woman
, 1590–1620
Black chalk and pen with grayish-brown water color on paper
Drawing

Obverse: Charity is shown de face walking and carrying an eating boy on her left hand. She looks down and gives an apple to a girl on her left. Part of a drapery is shown at the right edge. Reverse: A terrified woman is sitting and looking downwards. A chimeria supports her seat.
Design for a Bracelet
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1830–40
Pen and ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Three parts, each consisting of lozenges, formed by long stems from which leaf volutes spring. The volutes of each side are connected by festoons, and the neighboring volutes of the different parts are connected by smaller festoons. The center of the parts and the connections consist of a chain formed by alternating ovals and lozenges connected by disks. The clasp is an oval garland with two palmettes.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1900–05
Machine-printed, distemper colors

Frieze shows hunters in full course, with hound dogs, against a green landscape background with red foreground. Stamped on upper margin: Carey Bros. W.P. Mfg. Co. 1934. Intended for use in alteration with 1938-50-19.
Sampler
Hannah Cutter, American, ca. 1798
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, eyelet, and overcasting stitches on plain weave foundation

The center field has an alphabet and verse, motifs symmetrically arranged around a flowering tree, including flowers, trees with birds, and butterflies, and a three-story brick building with a man and woman on each side. A deep zigzag floral border surrounds the field on three sides, with an inscription at the bottom: 
Hannah Cutter's work wrought in the ninth year of her age

The verse reads: 
Bright angels strike you loudest string
Your sweetest voices raise
Let heaven and all created things
Sound our Emmanuel praise
Putti in a Chariot with Dolphins and Swans
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash over traces of black chalk on white laid paper
Sketchbook folio

Upper drawing of five putti in and around chariot pulled by swans and dolphin. One putto rides swan, while another rides dolphin. Other three play musical instruments. Lower drawing of four dancing putti circling smoking altar upheld by statues of three female nudes on round plinth.
Stage Design, Prison Hall
, 18th century
Pen and brown ink, brush and sepia wash on paper
Drawing

Vertical rectangle. Immense high prison hall with barred windows, gallery around top, stairs leading up at left and right, winch with rope at right.
Family register sampler
Abigail Barnard, American, 1806 - 1885, 1833
silk and cotton embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation Label: linen embroidered with silk and cotton in cross stitch

Family Record giving the dates of birth, marriage and death of members of the Barnard family. At the top, two octagonal cartouches with blue grounds are separated by a basket of fruit and birds. The primary information is arranged in a table with columns of pink, white and tan. Two square cartouches at the bottom with blue grounds and a basket of fruit between, contain a verse: 

Time flies a Pace
In ceaseless race
Man hurries to the tomb
In bliss or woe
Ere long to know
His everlasting doom

Then let thy heart
Who ere thou art
To wisdoms way incline
Use well this hour
While in thy Power
For the next may not be thine

With a strawberry vine border  and  inscription. 

The death date for the second Abigail Barnard (daughter) has been written in with ink "Oct. 2. 1885" Several of the dates are later than the date given in the signature.