biglam/cooper-hewitt-alt-text huggingface dataset:
Title page: "Bearing the Cross"
S. A. Grant, ca. 1861
Wood engraving, Black ink on paper
Print

Vertical rectangle. A cross and crown in a floral bower. In the centre, the title, the letters shown as stems with roots. Inscribed with names of artists. Inscribed on mount (in ink) by Alice Donlevy: "The Passion Flower -- India Proof of Wood Engraving Cooper Union -- Fund for Soldiers -- During Civil War more book marks of the design painted in watercolor were sold -- than of any other."
Textile
, ca. 1791
cotton, linen binding Technique: relief printed

Fragment, probably from a curtain, of cream-colored cotton, block printed in a pillar design. Bands of twining rose vines against a leaf pattern in blues and browns with touches of yellow, now faded, alternate with a pillar in narrow brown stripes. Fragment is full width with blue thread selvages.
An English Country House
Carlton Theodore Chapman, American, 1860–1925, ca. 1900
Watercolor, pen and ink, with graphite, on cream wove paper
Drawing

Large red-brick house beyond a pond, in the foreground, and gardens. Lattice windows, and walks at right. A low ridge beyond, with trees.
Trimming
, early 19th century
silk, metallic thread Technique: plain compound weave

Broad trimming (galloon) of dark green cloth, dull, with pattern wefts of gilt framing central band of bold fret with regularly interposed floral sprays and guard band top and bottom with continuous leaf and berry motif. Pattern wefts are bound in fret areas, float in floral areas, giving raised effect.
Sketch for Central Figure in the Ascension
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Figure standing with left arm around a cross, right arm extended, right foot planted on a cloud, and gaze directed downward.
Vestee
, 18th–early 19th century
wool embroidery on linen foundation Technique: embroidered in satin and cross stitches on plain weave

Vestee of heavy cream-colored linen embroidered in black wool. The round neck opening has a deep slit in the front which is embroidered on both sides with wide bands of heavily worked spirals. Around the collar are cross-stitched designs of stylized plants and birds. Both sides, corresponding to the shoulder area, have broad bands of stylized plant forms and small stags.The vestee is pulled over the head and tied at the sides with black and white tapes.
Death Giving Audience, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Second state
Peep-show, Vue d'Optique, Place de la Basilique de Saint Jean de Latran Mere et Chef de Toutes Les Eglises de Rome, No. 104
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 17th century
silk Technique: plain compound cloth

Diagonally facing flower with large leaf in white on dark blue.
Reliquary with the Emtombment
Pietro Belli, Italian, 1780–1828, 1815–30
Pen and brown ink, brown, gray wash, over graphite, ruled borders in pen and brown Support: white laid paper
Drawing

Two angels carry a framed relief of the Entombment of Christ; it is topped by a cross between lily sprays; rays of glory are laterally shown; beneath the representation stands a tureen-like bowl on a base; it is topped by a crossed P in palm boughs, and decorated by vine
Possible Trade Card for Clothier
, 1750–1800
Engraving, trace of pen and brown ink
Print

Octagonal sheet that has been cut down on all sides so that it has long horizontal and vertical edges, with very short corners.  Depicted is a right-handed glove, palm up, placed horizontally above a pair of men's knee breeches, with a very small and out of scale kneeling buck below.  This composition is placed in the center of a  Rococo-style cartouche composed of scrolls terminating in foliate ornamanent with a small blossom on either side.  The bottom of the cartouche has been cut off by the loss to the sheet, where a fragment of pen and black ink can be seen at bottom left.
Pair of sleeve ends
, 19th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Pair of sleeve-ends, linen, Buckingham. Wide bobbin lace border of free floral sprays.
Textile
, 1800–1830
linen Technique: hand woven plain weave with supplementary weft patterning

Section of toweling in undyed linen. Two plain cloth selvedges. Raw edges on top and bottom with overcast linen thread at top.
Artist and a nymph, from Twelve Etchings by Chifflart
François-Nicolas Chifflart, French, 1825 - 1901, ca. 1860
Etching
Print

Vertical rectangle. A wood nymph playing with an artist in the woods.
Fragment
, 19th century
linen Technique: bobbin made continuous tape with net added

Tape like pattern forming leaf motifs and circular floral motifs.
Fragment
, 17th century
silk, metallic thread Technique: woven

Vertical bands separating broader bands with detached motifs in silver.
Handkerchief
, 19th century
linen, cotton Technique: cotton embroidery on linen plain weave

White on white embroidered handkerchief with wide floral borders and a plain center. Some openwork details.
Study of a Young Woman
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a young woman's head and upper torso, seen from the front with her head and eyes turned to the left. She wears a hat with her hair tied back. The neckline of her dress is sketched. There is some cross-hatching behind her head to the right. The plate is signed and numbered.
Cartoon for Printed Cotton: The Four Elements [Les Quatre Elements]
Hartmann et Fils, Munster, France, 1810–20
Pen and black ink, brush and gray wash on cream laid paper, mounted
Drawing

Within vertically-arranged ornamental arabesques are: upper left, Juno seated in a chariot drawn over the clouds by peacocks, while kneeling zephyrs facing each other (personifying Air) support the vignette; lower left, Vulcan forging armor, and supporting, while two cyclopes (personifying fire) support the vignette; upper right, sirens supporting the vignette with Venus (below); center right, Saturn seated in a landscape, attended by animals, his right arm resting on a globe, while two standing Herculeses (personifying Earth) support the vignette; lower right, Venus born over water on a shell, accompanied by two tortoises (personifying water). In the center of the composition and along the left edge are vertical strips composed of trophies symbolizing the elements (uncompleted).
Portrait of Sarah Amelia Cooper
B. C. Porter, American, 1845–1908, 1893
Oil on canvas
Painting

Portrait bust of a woman in a white bonnet, wearing a pink fur-lined robe with white ruffles, in oval trompe l'oeil frame.
Le Printemps
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a bat-wing decorated central oval depicting an exoticized scene of figures being rowed in a boat in a small pool, set within a landscape. Surrounding this oval are arabesque forms including bat wings, tendrils, garlands, and scrolling acanthus leaves. The plate is signed.
Miser's purse
, 1850–90
silk, steel beads Technique: knitted in crossed and uncrossed stockinette and openwork stitches

Miser's purse knitted in gray silk with steel beads, with two steel rings. Finished at one end with looped fringe of steel beads, and at the other with a tassel of steel beads.
Pattern with uncompleted piece of lace
, 19th century
parchment, linen thread Technique: bobbin lace made in Lille style with heavy outlining thread

Pattern and partially worked piece of Lille style lace with flowers and curved leaves.
Ornaments
Margaret Brantley Pell, ca. 1890
silk Technique: knotting (macramé)

Cord in green, brown, white and blue, knotted into an oval shaped ornament, ending in a tassel with fringed ends. All four ornaments are alike, except that two have long tassels and two short tassels.
Textile
, 18th century
silk embroidery on linen foundation Technique: embroidered in cross and roumanian stitches on plain weave

Fragment of embroidery in red, blue, tan, green, and cream silk in a floral design.
Fragment
, early 17th century
linen Technique: bobbin lace, discontinuous tape

Fragment of a bold curving vine.
Standing figure with raised arm looking upward
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing bearded male figure in robes. He looks upward and holds up his right hand. He holds something to his chest with his left hand and arm.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Large medallions, joined, printed over button-tufted background.
Floor Plan of a Building
John Trumbull, American, 1756–1843, May 3, 1783
Pen and gray ink on paper
Drawing

Floor plan of a building, horizontal rectangular structure with a square-shaped structure along the bottom.
Ceiling paper
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Foliate squares alternating with foliate diamond shapes. Printed in green, brown, and mica on tan ground.
Siege of a City (Part 2)
Albrecht Dürer, German, 1471–1528, 1527
Woodcut on paper
Print

Pictured to the right of Siege of a City (Part 1), Part 2 depicts army battalions marching towards the city. In the background, a fire engulfs the vegation and buildings.
Study of Veiled Nude Figure
Louis Schaettle, American, 1867–1917, ca. 1900
Graphite on light brown paper
Drawing

Standng female nude with transparent veil hanging from the head and covering the entire figure. To the right is a small sketch depicting the same pose, but with figure fully clothed. The head is bent, right hand on breasts, left arm extended to right.
Sidewall - sample
, 1906–07
Machine-printed

Art nouveau; fantasy flower with leaves on vertical one inch wide stem which connects to the next flower. Distance of stems is five inches. A background of vertical undulative stripes, from narrow to wide to narrow, are all-over. Printed in green, dark green and lime green pigment.
Frieze
, 1850–1900

Frieze on off-white ground,metallic gold feathered c-scrolls encircled by tan and brown roses and green leafy stems; at the bottom arching sprigs of green leaves and tiny gold flowers.
Fragment
, possibly 13th century
silk on linen Technique: embroidered

Fragment of a band with diagonal alternating stripes of red and blue with small interlocked pattern.
Sample book
Jean-Baptiste Réveillon, French, 1725–1811, 1785–95
Block-printed, gilded, handmade paper

Mostly architectural borders and moldings, printed in grisaille and metallic gold . Some fold-out pages.
Band
, 18th century
silk

Diamond-shaped openwork band of loosely chained blue cords sewn with serpentines of colored knotted silk floss. Floral pompom of silk floss and silk cord centered in each scallop. Edging in scalloped white chenille.
Plate 5, from Recueil d'ouvrages curieux de mathématique et de mécanique, ou description du cabinet de Monsieur Grollier de Servière
Etienne Joseph Daudet, French, 1672 - 1730, 1732
Engraving on paper
Print

Seven designs for mechanical objects. Six are presumably able to be mounted on the stand for fig. 17, a sphere with a rod protruding laterally. Figure 23 is a sphere with circular gaps around a dimensional fleur-de-lys.
Textile
Morris & Company, Decorators Ltd., 1875–1941, late 19th century
cotton Technique: printed on plain weave with doubled warps

Large-scale design of exotic flowers with curving stems and leaves, large flowerheads suggesting tree-peonies and lotus in pink, red, yellow, and white with brown outlining on a ground of dark greenish-blue with fine, small-scale all-over reserve pattern of scrolling stems, leaves and flowers.
Fragments
, 16th century
silk Technique: cut loops of a supplementary warp in a plain weave-like foundation (velvet) with a stamped pattern

Two shaped fragments of a stamped deep red cut velvet. Rows of offset flowers enclosed in detached "S" and "Z" curves which form a diagonal square grid.
Sampler
, 1765
silk embroidery on linen foundation Technique: embroidered in cross stitches on plain weave foundation

Three alphabets, numerals and isolated motifs including Adam and Eve, spies of Escol, Jerusalem and ship.
Cap crown
, mid-18th century
linen Technique: needle lace with ground of loop and twist with twist return

Cap crown with a pattern of floral and foliated sprays.
Candlestick
, ca. 1800–20
glass

Ovoid molded ribbed shapft with flat knops above and below, foot spreads insquare molded section to thick square base; straight-sided nozzle with drippan top; ground pontil bottom.
Vessel
, 500–1000
Painted earthenware

Globular body, painted red on lower third; on upper part yellow slip, with painted birds with flapping wings and dots on neck and breast; between them, two rosettes.  Crooked stirrup spout (broken and repaired).
Ace of Spades
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

One of Spades playing card from a pack of transformation playing cards. Female figure depicted in outline in a church interior, wearing a nun's habit with a rosary hanging from her waist. She kneels and clasps her hands in prayer, her eyes cast down; an open book and crucifix at left. The black spade symbol is depicted upside down, occupying the space of her neck and chest. Within it, a small white cross.
Demitasse Spoon with Mouse
Charles Victor Gibert, French, ca. 1890
silver
spoon

Oval bowl with plain narrow stem. Stem continues to form leaf with downturned terminal. Applied mouse with head poking through to reverse side surface as if parting and breaking through the leaf. Nose and mouth visible through break in leaf on reverse side.
Purse
, 17th century
silk, gold-wrapped silk Technique: tapestry woven

Small purse having four identical shield-shaped panels joined with narrow gold braid; edged at top with same, with a gold cord to draw, whose ends have drops covered in gold netting; lined in rose silk taffeta. Each panel of blue silk with a small-scale symmetrical design woven in gold of a stylized plant with birds perched in the branches, and a winged female figure facing the birds with outstretched hands.
Border
, 1820–30
Block-printed paper

On white ground, continuous banding of red flowers and green foliage. Ahdered to sidewall with Irise or rainbow print.
Fragments
, 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Panel of green cut and uncut velvet in a pattern of palmette and foliage.
Henley Race Day
John Hassall, British, 1868 - 1948, 1901
Chromolithograph on paper, mounted
chromolithograph

One bank of the Thames at Henley, with many crowded boats and pavilions. The figures, boats, trees, etc. all outlined in black. Artist's name, lower right, and below in graphite. Publisher's name and date above.
Basket
, late 18th century
enamel, copper
basket

Lobed basket with pierced edges and blue enamel ground. Painted in polychrome and gold to evoke a gambling table, with bank-note, coins and playing cards.
Carpet fragment
, 1865–89
wool, bast fiber Technique: supplementary warp uncut pile loops in a plain weave foundation

Continuous bands containing geometric-patterned squares and rectangles with Turkish-like borders on each side. Colors are: crimson, dull orange, ivory, dark brown, faded yellow, shades of gray and other faded colors.
Ascending male figure
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Ascending male figure. Proper left arm extended above head.
Panel
, late 18th–early 19th century
silk, wool Technique: drawloom woven (two interconnecting structures)

Empire design of three connected ovals of wreaths in red on a yellow background. Yellow floral shapes, created by a change in weave structure, on the yellow background.
Fragment
, 16th–17th century
silk Technique: cut supplementary warp pile (velvet) in a plain weave foundation

Fragment of cut green velvet in a dark yellow ground has a small leaf pattern.
Ceiling paper
W. Campbell & Co., 1900
Machine-printed

Printed in green, deep pink, white, metallic gold on pink
Uncut waistcoat fronts
, late 18th century
silk Technique: embroidered on satin weave Label: silk embroidery in satin, stem and knot stitches on silk satin weave

Two incomplete panels for a waistcoat of white satin embroidered in multicolored silks. Corners beneath pocket flap show a design of two hunting hounds attacking a wild boar. Pocket flaps have butterflies, and front opening edge has dense flower cluster borders. Body has an open design of blue and yellow sprigs. Embroidery for the lapels in the opposite corner.
Figure from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figure grasping column in upper right of The Last Judgment by Michelangelo
Textile
, 18th century
cotton Technique: resist printed

White ground resist printed in two shades of blue with a design of a large flowering vine between pillars.
Drawing
, late 19th century
Brush and gouache, graphite on cream paper, lined

Red flowers and blossoms on green stems with leaves; upper section on black ground, lower section on cream ground.
Embroideries of Mrs. C. W. Holmes, Jr.: Pussy WIllows, Orchard, and Drifting Snow
Alfred Laurens Brennan, American, 1853–1921, 1881
Pen and black ink, white gouache, on paper (mounted) and on illustration board
Drawing

Three panels representing embroidery designs. The vertical panel on the left shows pussy willows, and the vertical panel to its right shows drifting snow.  Above, the horitzontal panel shows an orchard.  The two vertical panels are drawn on paper, then mounted to the illustration board; the third, horiztonal panel is drawn directly on the board.
Sidewall
Jacquemart & Bénard, France, 1820
Block printed on handmade paper

Scrolling foliate medallion enclosing squirrels perched on branch amidst fruit and flowers.
Sampler
, 1802
silk embroidery and linen needlelace on linen foundation Technique: embroidered in stem, knot, cross, threaded running, back, cross, and buttonhole stitches with needlelace on plain weave foundation

Five plackets.
Vestment
, 19th century
silk, cotton, metal Technique: cut supplementary warp pile (velvet) in a plain weave foundation with addition of one supplementary weft (metal) for facing

Vestment with purple cut velvet pattern of large symmetrical floral motif with leaves, incorporating large single flowers and branches of flowers on a yellow background faced with gilded metal strips.
Nutmeg Grater
Thomas Phipps, English, d. 1823, 1812
silver, steel, brass
nutmeg grater

Silver nutmeg grater with a half-cylinder-shaped body and handle topped with a shell and leaves. Grating surface has perforations in a circular pattern.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: embroidered in cross, satin, and back stitches with withdrawn element work on plain weave foundation

The sampler is divided into three columns. On the left, pattern bands in white withdrawn element work. In the center, pattern bands in whitework and embroidery in red. On the right, spot motifs embroidered in red on a natural ground.
Fragment and hexagon
, 16th century
linen, metallic thread Technique: needle lace, interlacing

The fragment is a band with a triangular tab edge. The hexagon encloses a centered double-tailed siren.
Remembrance Greeting
, 1838–1840
Engraving, brush and oil paint on paper
Greeting Card

Simulated montage of prints of birds, dogs, famous paintings, etc. In center, a girl holding the leaf of a book inscribed: "One spare leaf yet remains to claim your kind Remembrance".
Commemorative Scrapbook Documenting the 1901 Record Breaking Coach Race from New York City to Philadelphia and Back Again
James Hazen Hyde, American, 1876 - 1959, 1901
Newspaper and magazine clippings mounted on heavy wove paper, annotated in pen and ink, bound in red leather with gilded lettering
Album

Album of newspaper clippings describing the coach trip from New York to Philadelphia and return. The drivers were James H. Hyde and Alfred Vanderbilt.
Ivy Silhouette Motif
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Silhouettes in the shape of ivy leaves act as a window for bamboo leaves as well as plover and vines. Tiny holes frame ivy. The bottom of the stencil has Japanese calligraphy.
Chandelier
, 15th–16th century
Bronze

Nine-armed chandelier; six arms on lower section, three above. Central baluster shaft. Arms are cast and chased in pattern of scrolling foliage; with flat drip pans and open sockets.
Sampler
, 1711
silk embroidery on linen foundation Technique: embroidered in cross and back stitches on plain weave foundation

Alphabets and isolated motifs including Bacchus on a barrel.
Vase
Caroline Virginia (Rich) McGuffey, American, 1839 – 1905, 1886
Gilt, enameled porcelain

Footed bulbous jar in green with allover darker green leaf pattern, overlaid with gilt silhouetted cats and figures. Jar has scrolled and foliate feet; C-curved hands.
Design for the Rear of a Carriage with Valor Victorious over Vice and Arrogance
Ciro Ferri, Italian, 1634 - 1689, late 17th century
Black chalk, pen and ink, brush and wash on paper
Drawing

An allegorical warrior with a spear and shield decorated with a sun vanquishes figures at his feet. Accompanied by eagle, putti and swirling acanthus leaves.
Project: a fountain in honor of Emperor Napoleon
Giuseppe Barberi, Italian, 1746–1809, 1796–1801
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Horizontal rectangle. Shown like 1938-88-1774. The design is a variation of that of 1938-88-1774. The central rock has the shape of a natural arch. Winged genii upon winged horses stand upon round pedestals, upon the ledges. On top of the arch is a circular base, with an inscription. Above the inscription is a trophy of arms. Dark brown framing band. Framed by gray-blue paper stripes.
Textile
, 16th century
silk Technique: cut supplementary warp pile in plain weave foundation (velvet) Label: Silk cut velvet

Fragment of woven velvet with a small-scale symmetrical design of a bird, flowers and scrolls in green and pink pile on a white foundation.
Ceiling Design
Nicolas Pineau, French, 1684-1754, ca. 1730
Etching and engraving on laid paper
Print

A design for a rectangular ceiling, with variations to the design on each side. In the center the lower half of ceiling rosace decorated with strapwork, floral, palmette, fleurons c-scroll and s-scroll and acanthus leaf scroll motifs. Each corner of the cornice is decorated with a cartouche framed by arabesque strapwork, trophies, palmettes, masks, c-scrolls, s-scrolls, fleurons, shell, gadrooning and floral motifs. The cartouches surround mythological figures and scenes. With some decoration along the sides of the cornice between the corner cartouches. The plate is numbered and signed.
Trophée à Venus
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on laid paper
Print

A design for an ornamental trophy to Venus, the Roman goddess of Love. A vignette with a tree, plinth, flowers, birds, tambourine, horns, sheet music, and a winged putto within clouds. The plate is titled and signed.
Les Tendres Accords
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament and vignettes. Within a garden landscape a rocaille ornamented wall featuring, c-scroll, shell and acanthus leaf motifs, fluting, and cartouches with a flowering vase and a female sculpture above. I front of the wall, a man stands kneeling on one knee, playing the flute, and a woman sits playing the lyre, next to a basket of flowers. Trees in the background and foliage in the foreground. The plate is titled, signed, and numbered.
Design for a Ceiling with the Arms of Pope Clement XI
, 1700–1721
Pen and sepia, brush and watercolor on paper
Drawing

Ceiling divided into panels. At bottom center, an anchor and two palm branches fastened together by a ribbons. Opposite to this, a crucifix and rustre tied with a ribbon. Coat-of-arms at center.