biglam/cooper-hewitt-alt-text huggingface dataset:
Encaenia in the Sheldonia
Thomas Uwins, 1782 - 1857, 1814
Brush and watercolor, graphite on paper
Drawing

Encaenia in the Sheldonia
Galerie métallique des grands hommes français (Great Men of France)
Jean Joseph Dubois, French, 1798 - 1841, 1819
Cast bronze
Medal

Bust of Pierre-Jean-Baptiste Gerbier de la Massillays (1725 - 1788 ), to the left.
Sketches for Altars
, 1725–1775
Black chalk, pen, ink on paper
Drawing

Obverse: a mensa stand before the central section of a convex dado upon which steps (ledges) rise to a pavillion in which two angles raise a monstrance on a pedestal to which candle brackets are fastened. The pavilion is topped by a cross. On pedestals which project from the dado stand two angels supporting a
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 egg and dart, acanthus leaf, and bead and bar course. The plate is signed and numbered.
Custard cup and cover
, 1750–1775
Tin-glazed earthenware

A custard pot with one handle; molded spirals on body. A lid, also with spirals, and a tall finial. Hand-painted enamel decoration showing green florals and swags, and an oval cartouche was a pink monochrome scene of a cherub.
Spoons
, 1825–50
Pen, sepia, brush, gray water color
Drawing

The handle is terminating at the front with the mask of a bearded man, crowned by a diadem.  At the sides are the transformed ears, which support a drapery festoon.
Shawl
, ca. 1860
silk Technique: bobbin lace, Chantilly Style Label: silk bobbin lace

Triangular black silk Chantilly lace shawl with a floral design.
Elevations for Two Triumphal Arches in Honor of the Emperor Napoleon
Luigi Cagnola, Italian, 1762 - 1833, ca. 1810
Pen and black ink with gray wash and traces of graphite on off-white wove paper
Drawing

Top design shows five arches with Corinthian columns, festoons and statues flanking the badge of the Legion of Honor showing the head of Napoleon. The bottom design shows a Palladian archway with Doric columns, Corinthian pilasters, vases, and the badge of the Legion of Honor with an eagle facing left.
Log Cabin
Frederic Edwin Church, American, 1826–1900, probably 1856
Graphite on gray-green wove paper
Drawing

Architecture sketch showing a frontal view of the long side of a log cabin. Made up of seven stacked logs, this facade includes a door near its midway point and a window at left. Striations are shown on its gabled roof.
Zouaves in the Camp of St. Maur
Constantin Guys, French, 1802 – 1892, 1859
Pen and brown ink, brush and blue, brown, and gray wash, graphite on paper
Drawing

Horizontal rectangle. Zouave troops encamped at St. Maur, lying around in a circle, one male figure at the center. In the background at left, a group of tourists observing them, the women carrying parasols and the men wearing high silk hats.
Table runner
Unknown, ca. 1905
linen, viscose rayon embroidery Technique: embroidered on plain weave

Rectangular table runner with three yellow and green circular sunbursts on both ends.
Fragment
, 1750–99
cotton Technique: block printed using resist then vat dyed in indigo on plain weave

Pomegranate-like shapes and arching leaves in blue on white.
Sidewall
, 1840–1860
Machine-printed on cotton rag paper

2 different designs mounted on support. Narrow band of blue foliate sprigs on left edge, with wider band of American flag ribbons forming guilloche design. Another narrow band of blue foliate sprigs, with wider band containing American flags, cannon, shield and drum, alternating with eagle holding arrows and laurel sprigs. Printed in red, blue and green on off-white ground.
Cape
, 1846
silk and wool

Moire cape with self-covered buttons. Cape of Irish poplin; chartreuse green and magenta fine stripes; trimmed down front and shoulders with self-covered buttons; lined with white China silk.
Dancing figure
, 1840
Paper

Upright rectangular box, the front glazed. Contains dancer in knee breeches with articulated legs and goblet of wine in right hand. Figure dances when box is inverted counter-clockwise, then set upright. Sand mechanism is concealed.
Fragment
, 16th–17th century
silk Technique: 5-harness satin damask

Narrow strips of a red damask in a symmetrical pattern of a lattice enclosing palmettes and foliage. Selvages present.
Two Episodes with Orpheus and Eurydice
Felice Giani, Italian, 1758–1823, About 1810
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Horizontal rectangle. Top: Eurydice, walking with two companions in a park, treads upon a snake. At left and at right are women, looking on. | Bottom: Eurydice jumps into the boat of Charon as Orpheus turns his head back. He is accompanied by a child with the lyre.
Design For a Clock, pl. XXI from "Recueil d'Ouvrages Curieux de Mathematique et de Mecanique, ou Description du Cabinet"
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1719
Engraving on paper
Print

Design for a clock???
No. 19 Wood Colors Nov. 1882
Old Pacific Print Works, Lawrence, MA, USA, 1882
paper and printed cotton textile samples
printer's sample book

Printed cottons: floral and geometric patterns. Small patterns, mostly browns. Natural and synthetic dyes. 137 samples.
Cooper Union Building
Rockwell, American, active 1860s, ca. 1867
Photograph mounted to board
Photograph

View of main entrance of Cooper Union Building as seen from the northwest corner of Astor Place and approximately Fourth Avenue in Manhattan.
Textile
, 1200–1400
cotton Technique: printed and painted on plain weave

Bold horizontal zigzag stripes with wave guard borders filled with conventionalized bird repeats, smaller birds and geometrical patterning alternate with plain zigzag bands. Painted and printed in brown, entire cloth dyed soft blue and plain bands painted deeper blue.
Border fragment
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen. S-spun wools Technique: tapestry woven

Overlapping leaves with pink six-petaled flowers. Remains of striped columns at each edge.
Portrait of Captain Thomas Coram (1668-1751)
William Nutter, British, 1754 - 1802, 1796
Stipple engraving with etching on paper
Print

He is seated and holds in his right hand a metal, which rests on a round table on which is "The Royal Charter" of the Foundling Hospital. Before him lie his hat, a book, a globe showing the Western/or/Atlantic Ocean and a letter addressed to him. Behind him, between a drapery and a column, an indistinct statue (?) of a woman and child. In the left background a distant view of the sea with sailing vessels.
Edge
, 19th century
silk Technique: bobbin lace

Black silk
Bands
, 19th century
linen Technique: bobbin lace, Mechlin style

Bands with a pattern joined ovals and half-moon shapes with openwork patterns on one edge. Field above has a design of leafy sprigs.
Textile
, 18th century
silk Technique: rib weave (faille) with moire

Violet silk faille with fine symmetrical moire on either side of a central fold. Violet silk warp with dark green silk weft.
Textile
, 19th century
cotton on piña cloth (pineapple fiber) Technique: embroidered

Square piece of fabric possibly a shawl end or sleeve panel for a blouse embroidered in the design of a plant in a basket alternating with a leaf and scroll motif. Narrow bobbin lace on two sides.
Handkerchief
, ca. 1870
linen, cotton Technique: embroidered

White linen handkerchief with wide border of embroidery. A diagonally placed spray of flowers alternates with leaf spray above a scalloped border with drawnwork ornament; initials M.B.C.
Door and Upper Window of
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Elevation (right half) of a scheme for interior door and upper window of a church. The doorway has a triangular pediment with tablet for an inscription below. At center of pediment is half of a cherubim head; sculpted seated figures rest above. Attached Corinthian columns flank the doorway and support a simple entablature with dentil frieze. Above this is an elaborate thermal (i.e. related to windowtype found in thermae, Roman baths) window with swags, a seated sculpted figure at right, a cherubim head at
A Large Tree at the Edge of a Swamp
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A large tree, at left, bends over a swamp which extends over the entire foreground. Woods and an open landscape, right distance.
Portrait of James Watt
William Nicholson, British, 1781 - 1844, 1819
Etching on paper
Print

Half-length portrait of the Scottish inventor James Watt (1736-1819), shown seated at his desk, facing one quarter to the left, his gaze directed frontally. His left forearm rests on the arm of the chair. Books, pen, and drawings shown behind him.
French Cruiser
Childe Hassam, American, 1859–1935, May 10, 1918
Lithograph on paper
Print

A naval ship is seen in the Hudson River, with the New Jersey shore line in the distance.
Key
, 1725–75
Iron, gilt bronze

Below is a foot; upper part consists of twigs and, laterally, two scrolls.  Between them on top is a hanging plant palmette.
Design for a Fan, Interio
, June 1865
Etching Support: white laid paper
Print

Fan-shaped composition with field showing interior of large room populated by men and women who converse in small groups either seated or standing.
Costume Design: Night Light, for Ziegfeld Follies of 1920
Charles LeMaire, American, 1897–1985, 1920
Brush and watercolor, graphite on heavy paper
Drawing

Vertical format. Figure of a woman standing in left profile wearing a tall peaked cone-shaped black hat covered with a veil which covers her entirely and forms a train. She holds a lantern with a long chain. Further headpiece details in pencil at right.
Ornament Designs for Case Covers, Roundels, and Bands
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels (possibly watch cases), case covers (possibly snuff boxes) and bands decorated with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with mascarons (masks), strapwork, cartouches, and a diaper pattern. The plate is signed and numbered.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Green with swags and flowers.  The wefts are used in stripes of color, green, pink, red and orange.
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This design shows the construction directions for support elements
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Yellow/gold warp with green and white wefts.
Detail of Ground Floor Fenestration of the House of Hector Guimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, ca. 1910
Photographic print on sensitized paper
Photograph

Five deeply set vertical windows protected by cast bronze grillework. Above, a balcony with a low orange tree on it. The limestone framework is carved with Guimard ornamentation. Side windows, not facing rue Mozart.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1903-04
Mold-blown favrile glass

Iridescent gray with amber undertones. Ovoid body with very short neck and low broad foot. Relief band around lower portion of body consisting of two rows of twelve bosses each on blister-like ground; egg and dart type decoration around foot.
Andirons, Entrance Hall Fireplace, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

Page divided horizontally into two registers with illustrations of andirons in a fireplace. Upper register: frontal view of andirons to left, and side view of andirons to right. Lower register, view from above andirons on left.
Album of Arabesque Designs
Laurent Guyot, French, 1756 - 1808, 1788
Album

Album of arabesque ornament designs and interior wall elevations featuring rococo and neoclassical motifs bound with a collotype reproduction of an 18th-century interior wall elevation.
Sampler
Elizabeth Rowe Terry, American, 1828
silk embroidery on linen foundation Technique: embroidered in cross and eyelet stitches on plain weave foundation

Scene showing a man and woman in formal dress, labeled as Adam and Eve, another lady and gentleman (unfinished), baskets of flowers and fruit, flowering trees, birds, and an inscription, arranged in four horizontal rows and enclosed in a simple zigzag border.
Border
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1790–99
cotton Technique: madder colors (reds, purple and black) block printed, yellow and blue applied by brush on plain weave foundation

Twisting curve of elaborate floral shapes.
Tape
, mid-19th century
silk Technique: plain weave

Yellow tape or seam binding on a flat wooden spool.
Band
, late 19th century
cotton technique: bobbin lace

Band of bobbin lace in a provincial style has rows diamond shapes, alternately open with ovals in the center, and others closely worked giving the appearance of plain weave.
Band
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Design of V shape with leaves inside point..
Fragment of border
, 17th century
linen Technique: bobbin lace, discontinuous tape

Part of a wide border, cupids aiming at birds, Saint Margaret standing on a dragon amid plants and flowers.
Equipment Used for Spinning Silk
Louis-Jacques Goussier, French, 1722 - 1799, ca. 1775
Engraving on paper
Print

Equipment Used for Spinning Silk
Design for a Painted Porcelain Plate, Confiture en Pot (Potted Jam) for the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brush and brown ink, graphite on cream laid paper
Drawing

Design for a painted porcelain plate, rondel. Sketch showing a figure of a woman, center middleground, serving [?] jam to a child.  A figure is seated, left middleground, in front of a palm [?] tree.  A secondary sketch in left foreground shows four figures, one of whom is handing some jam [?] to a young child. The inscription "coudeuse" refers to some other boys at right attempting to get some jam.
Tile
Hamilton Tile Works Co., founded 1884, 1883–96
Molded, carved and glazed stoneware

Rectangular molded tile with high relief border surrounding female figure in Renaissance costume, holding falcon on arm and with hunting dog at feet.Figure stands before draped wall. Thick transparent ochre glaze creates highlights and shadows around relief details.
Borders
, 19th century
silk embroidery on cotton foundation

Two borders, probably from sleeve or bottom of dress, worked in silks in red, yellow, orange, white, and outlines of black. Design shows a stylized flower head, with heart-shaped leaves at the center and small leaf-shaped corner designs. Repeat about 3 inches wide, separated by a narrow border of completely stylized smaller flower-head. A bottom border of drawn work, made by whipping groups of threads in similar colors to embroidery, about 1/2 inch wide.
Necklace
, mid-19th century
Gold, semi-precious stones, silk cord

Necklace. Gold beads with semi-precious stones, on red silk cord.
Fork with Agate Handle
, ca. 1700–1800
steel, brass, agate
fork

Three curved tines, curved shoulders, baluster-shaped neck flaring in the middle. Octagonal brass ferrule, faceted agate handle with rounded top.
Study for "From Paradise to Purgatory, Newport"
William Trost Richards, American, 1833–1905, ca. 1878
Graphite on paper
Drawing

Sketch of a rocky cliff.
Sauceboat (One of a Pair)
Bow Porcelain Manufactory, English, active ca. 1744 – 1776, ca. 1750
soft paste porcelain, gold
sauceboat

Oval sauceboat supported on oval. Base domed, modeled in relief with floral garland. body of boat molded with relief garlands. Upper rim risesin wave motif at body sides, curving to elongated pouring lip. Exterior body gilded in floral patterns above and beneath molded garlands. Handle in form of serpent/dragon, head rising over sauceboat, with delicately molded scales, teeth, tongue, and ears. Interior of boat with gilded flo- ral spray at bottom, and gilded circle and dot band at inner edge of lip. Body paste creamy white, with minor black imperfections thoughout.
Fork
, ca. 1680–1700
ivory, silver, steel

Four curved tines, curved shoulders, flat neck flared towards the handle. Silver ferrule engraved with initials "W v D S." Ivory handle carved in deep relief. Three virtues: Justice, with sword and scale, Hope, with anchor and bird, and Charity with candle (?) and three children. Four faces on top end of handle; cap of handle floral-shaped.
spoon
Frederick J. Posey, American, active 1820–40, 1820–42
silver

Pointed oval bowl with fiddle form handle, the terminal engraved with monogram LM.
Peonies and abstract waves
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Complimentary peonies using positive and negative zones are arranged among abstract waves. Silk threads support undulating lines.
Sketch of English Interior with Road and Houses
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Sketch of country road leading around a bend to the left, with stand of trees at left.
Sketches in Trinity Church
Arnold William Brunner, American, 1857–1925, 1879
Graphite and white heightening on light brown paper
Drawing

Column under an arch, left; center, small arches; right, profile of church pew extending into background.
Sidewall
Gledhill Wall Paper Co., New York, New York, founded 1900, 1860–70
Machine-printed paper, ungrounded, liquid mica

Blue floral sprigs and white foliate scrolls printed over light gray mica stripes. Printed on ungrounded paper.
Inlet with Rocky Cliffs and Fisherman
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Rocky coastline surrpunding an inlet. A small figure carrying what is probably a fishing pole is in the left-middle gound at edge of water, There are large cliffs in the distance, at right. Miscellaneous pen strokes in the margin to the right of the image.
The Louvre, from Port St. Nicolas, Plate 63 from "Vues Pittoresques des Principaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

The Louvre from the Seine; Port St. Nicolas. Many boats on the river. Title, artists' and publisher's names below.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper

Art nouveau style with white bouquets of abstract vines on a tan, cream, and silver ground. Two borders printed across the width.
View North from Green Mountain
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite and white heightening on grey paper
Drawing

Rocky, sloping ridge, foreground. Bay with islands, and mountains beyond.
Sidewall
, 1905–1915
Machine-printed paper, ungrounded

Overall speckle pattern with small dots, larger blotches, and simplified three-petal flowers. Background of vertical lag and feather motif. Ungrounded. Printed in green, red, black, brown and yellow.
Panel
, 1700–1750
linen Technique: punto in aria needle lace

Design consists of a large basket filled with floral and foliated forms. The basket seems to have been cut from a large flounce to fit into the oval top of a mirror.
Study of Standing Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Standing female nude, rear view, with head facing right, right arm extended. Drapery study, upper right.
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Rinceaux in red with green vines and globular green-brown blossoms on a white ground. Lighter pattern of flowers and vines in light green in space surrounding main design, composing a large trellis pattern.
Cup
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, ca. 1730–1740
hard paste porcelain, vitreous enamel, gold
cup

Cylindrical body with shaped flat handle. Frieze of so-called "Prince Eugene" ornament (symmetrical arabesques). In gilt enframement, a polychrome medallion of a woman and child playing musical instruments.
Staircase—Mossley Hall
Arnold William Brunner, American, 1857–1925, 1883
Graphite and white heightening on brown paper
Drawing

Left, desk with flower vase, bust of a woman, and books on top. Next to desk, chair with fabric thrown on, behind chair, painting of a figure. Chair and desk, under staircase.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace border, floral scrolls; mid-18th century pillow edge
Bag
, 19th century
cotton Technique: embroidered

Small handbag of fine petit point , squared at top and rounded at base, on a silver gilt frame with imitaition pearls. Symmetrical floral design with butterflies.
Sidewall
Lewis Chase Wall Paper Company, Bristol, Pennsylvania, USA, 1907–1915
Machine-printed paper

Art Nouveau style. Thick floral medallion stripes alternating with two thin floral stripes. Ribboning design and background of irregular dots/splotches over regular small black dots on a dark pink ground. Printed in reds, pinks, greens, and yellows. Printed in right selvedge (ribbon): "402 Chase Print"
Border
, 1800–1820
Block-printed on handmade paper

A single row of ogival shapes with twisted rope edges, side by side, in the foreground. Each shape contains a foliate sprig. Between, and appearing behind, each of these shapes is a circular motif with a band of laurel leaves. Printed in shades of light brown, teal, ocher and white against a black background.

H#612
Sketches in the Harbor of Catania
Arnold William Brunner, American, 1857–1925, ca. 1881
Graphite on paper
Drawing

Sailboats, and boats with big cargos with figures, standing, standing or sitting on cargo, rowing. Center sketch of a man facing forward, head facing slightly downward.
Border
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On wood-like ground, tall stemmed pink flower, gold buds; additional green stems bearing pink buds below; against gold silhouette with tulips and arabesques.
Fragments
, 19th century
silk, metallic thread Technique: velvet

Red and beige velvet fragments with dragons, Fu dogs, clouds, and flowers.
Border
, 1850–80
Block-printed and flocked on machine-made paper

Machine made, joined sheets of paper with touches of metallic gold ink. The design consists of a string of round and rectangular medallions containing modified fleur-de-lis. Linear curl decorations embellishes the string of medallions; printed in black flock with salmon, red, ochre, and gold.

H#45
Ceiling paper
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, applied mica flakes

Flitter ceiling. Non-directional design of rose sprigs with shadow pattern of rose sprigs. Printed in red, pink and green on light green ground. Sprigs outlined in metallic gold mica flakes.
Pitcher
Rookwood Pottery, American, 1880 - 1967, 1887
Thrown, glazed, and hand-painted stoneware

Thrown white stoneware body with applied handle, decorated with prunus blossoms and branches in white, enframing an overglaze-painted field of bright blue and gilded patterning. Upper portion of neck with field of Bristol blue and blue prunus blossoms against gilded patterning. Body painted in graduated tones from peach to pale celadon.
Fragment
, 18th century
linen Technique: bobbin lace, discontinuous tape

Fragment of a large scale foliated scroll pattern in diagonal, symmetric arrangement.
Ceiling paper
Cresswell & Washburn Ltd, Philadelphia, Pennsylvania, 1880 - 1900, 1905–1915
Machine-printed paper, liquid mica

Overall waving scroll pattern connected by floral vining, foliate swag, and small clusters of flowers. Ground is cream. Printed in light beige, mica golds, light blue, and white mica. 
Printed in right selvedge: "Cresswell and Washburn 0.628 Phila."