biglam/cooper-hewitt-alt-text huggingface dataset:
TItle Page
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Title page with the title lettered on the front of a monument or pedestal topped with putto holding the crowned French Royal coat of arms, with a mascaron (mask), festoon of leaves, shells, fleurons, dragons, fluting and a cartouche with shell, c-scrolls, ribbons and palm leaves on the front of the pedestal / monument, and military motifs on either side - spears with flags, banners, quivers of arrows, helmets, shields, horns, cannon, globe, measuring devices, calipers, portrait bust, and a palette with paint brushes. The plate is signed.
Plate from 12 Stick Zum Verzaighnen Stechen Ver Fertigt (Set of Twelve Designs for Engraved Vessels)
Bernhard Zan, Germany, active ca. 1580, 1580
Punch engraving, pen and black ink, graphite on off-white laid paper
Print

Under a scrollwork frieze with bunches of fruit and a bearded mask, are two masks connected by drapery festoons. Bunch of fruit, bottom.
Fragment
, mid-19th century
cotton Technique: printed in red on plain weave

Fragment shows Milton dictating to his daughters. A caption at the bottom reads "Milton et ses Filles." In red on white.
Embroidery sample
, 1790–1800
silk, glass, paper Technique: embroidered on silk cut voided supplementary warp pile in a twill foundation (velvet)

Floral pattern embroidered with white silk and pieces of clear glass on black velvet with vertical green twill stripes.
Sidewall
, ca. 1730
Leather stamped and gilded

Stamped and gilded flowers, scrolls, and foliage.
Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of the design -1060. A parapet with relief figures connects the top stories of the wings in their full heights. A group and statues, respectively, stand upon the parapet. Ornaments on top and at the base of the dome. The right wing is partially outliend. Accounts top right.
Design for Brooch or Hair Ornament in Shape of Feather
, late 18th century
Pen and black ink, brush and gray wash on light green laid paper
Drawing

Jewelry design for a hair ornament or brooch in the shape of a feather. Feather-shaped ornament curved to the left, with knotted bow and disk decorated with stones, at stem. Bevelled corners.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-27: Part of a set of Italian Minchiate playing cards.50
Modern villa
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Modern villa.
Clouds over New York City, Part Two
Frederic Edwin Church, American, 1826–1900, February 1857
Graphite on off-white wove paper
drawing

Second part of a panorama (with 1917-4-1005-b verso) showing a view of clouds in sky over New York City. At left, a tall, billowing cloud comprises a significant portion of the sky while other puffy clouds float around it at center and lower center, where two chimneys and the roof of a nearby building are also visible.
Plan et Elevation d'une Salle à manger Ornée d'une niche avec un Poële
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of a dining room. At center is a niche with a large urn atop a pedestal decorated with garland and fluting. On either side of the niche is a door topped with garland and an overdoor panel of an oval medallion surrounded by putti (left) and scroll brackets and a vase with garland (right). The plate is signed.
Tree Tops
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Treetops are carved out, suggesting that the pattern works in both inversely as well. Silk threads are added to support the structure of the threads.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Floral bouquets alternating with floral wreaths. Motifs are connected by floral swags. Printed on background that shades from yellow at top to green at bottom.
The Dispatch
Auguste Brouet, French, 1872 - 1941, ca. 1915
Drypoint and mezzotint on paper
Print

In a darkened interior, two soldiers pour over a paper, over which one holds a lantern. In a doorway at the left stands a hooded figure.
A Member of Commodore Perry's Party, Western Man on a Horse
Yenshuya Hikobei, Japanese, active 19th c., 1861
Woodcut on mulberry paper
Print

Man on a dappled horse, in western costume. Inscription in Japanese, upper left. Signature panel, upper right. Yokohama print, dated 1861. Censors seal: Arata me.
Sidewall
, 1905–1915
Machine-printed paper, liquid mica

Trellis pattern in dark brown with tripartite foliate at interstices and filled with brown shades; staggered acanthus leaf motifs in brown and gold on tan ground. Has the appearance of tufting.
Design for a Painted Porcelain Plate, Café (Coffee) from the Service des Objets de Dessert (Dessert Service)
Jean Charles Develly, French, 1783 - 1849, 1819–20
Pen and brown, black ink, brush and brown, black wash, white gouache, red crayon, graphite on tan paper mounted on gray-blue paper
Drawing

Circular format. Six figures are grouped on the porch of a coffee plantation house in Arabia (indicated by the decorative plaque above the wall moulding.  A gentleman in high hat points to a botanical book showing a drawing of the coffee plant.  A man, seated at a table, appears to be holding a coffee bean pod in his right hand.  To his left, a woman is pouring coffee into a cup held by a young boy.  A woman, seen through the doorway (rear left) is grinding coffee beans.  Another woman, seen outdoors (rear right) appears to be working at a bean roasting apparatus.
Vase
, ca. 1800–10
glass

Ovoid body tapers to fluted neck, wide flat lip with turned-up rim and scalloped border; body and upper rim cut with diamonds, pillar flutes at base. Hyacinth
Portrait
, mid- 19th century
silk Technique: Jacquard woven

Woven portrait of Napoleon I (1769-1821) of France.
Side Wall Elevation of the Riding Academy, Vienna
Francesco Zucchi, Italian, 1692 - 1739, 1740–44
Engraving with black ink on white paper
Print

Horizontal rectangle. Side elevation of the winter riding school, Vienna, decorated for the wedding of Charles Alexander of Lorrain and Maria Anna of Austria, Vienna, January 7, 1744.
Fragment
, 16th–17th century
linen Technique: withdrawn element work

Fragment of a wide border with large symmetrical flowers and scrolling vines. Top and bottom sections have an acorn and leaf motif.
Scent flask
, 1750–1800
Mold-blown and applied glass

Shaped as bellows; long neck with double ring at lip, trailing decoration along side edges, central boss on side, 2 applied "handles" at bottom end.
Cabinet, fountain and pillar
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

At left, an elaborate cabinet with one leg looking like the foot of a giant creature. In the center, a tall fountain. At right, a pillar.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Borders printed two across (not mirrored). Waving foliate scrolls of leaves with red dots and scrolls. Ground is yellow cream. Printed in greens, red, cream, and dark pink. Slight water damage.
Printed in selvedge: "Janeway & Co. 510"
Sketchbook Page: Mars Resting, After Velázquez
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Study of a male figure with drapery, after a painting of Mars by Velázquez.
Great Courtyard, Dublin Castle
James Malton, English, 1761 - 1803, 1792
Aquatint, brush and watercolor on paper
Print

Soldiers and other figures are seen in the castle courtyard. At right, a building with cupola, flanked by gates. Below, title, artist's and publisher's names and the date.
Frieze
, 1905–1915
Machine-printed paper

Border printed two across the width. Alternating large and medium stylized flowers with large leaves and stems that attach to the bottom border. Background of white vermiculation and tan and beige checkerboard-like pattern. Tan ground. Printed in greens, tans, browns and pinks.
Textile
, 19th century
silk, cotton, metallic thread Technique: 7&1 satin (green silk warp, cotton weft) with continuous supplementary weft in various bindings (yellow silk) and discontinuous supplementary wefts (2 metals)

Maltese cross-shapes in two types of metal within circles of leaves (yellow silk) on a yellow-green background.
Sidewall
, 1780–1810
Block-printed paper

1968-85-1-a,b: Grisaille paper, white and black pattern on gray. ...;     1968-85-2-a/c: Grisaille wallpaper with attached border. Wallpape...
Sidewall
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

On gray ground, with vertical dark squares in stripes. White vases holding white bouquet, garlands connecting other vases.
Two-tined Fork with Agate Handle
, 1675–1700
steel, silver, agate
fork

Fork with two pointed tines. Curved shoulders and baluster neck, silver faceted ferrule. Flaring faceted agate handle, small metal pin on top of handle.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On gray ground, small wreaths in green and pink with lightly printed white C-scrolls. Printed on off-white ground.
Frieze
, 1905–1915
Machine-printed paper

A repeating design of alternating large and small rose flower-head filled cartouches upon a gray ground with an ivory turning to pale gray geometric design, below an ivory sconce-like design. Printed in ivory, white, gray, green, pink, rose and light gray
Premier Etage
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

1921-6-212-4-a: Architectural plan with alphabetical notations ide...;     1921-6-212-4-b: Architectural plan with alphabetical notations ide...;     1921-6-212-4-c: Architectural plan with alphabetical notations ide...;     1921-6-212-4-d: Architectural plan with alphabetical notations ide...;     1921-6-212-4-e: Architectural plan with alphabetical notations ide...
Inkstand
, ca. 1760
Tin-glazed earthenware

Shaped inkstand (a) with separate inkpot (b) with lid (c), and sander (d); green and ochre decoration of flowers, foliage, and figure. Sampson in the style of 18th-century Moustiers.
The Great Industrial Palace
, 1851
cotton Technique: roller printed on plain weave
Handkerchief

Central scene of the Crystal Palace with portraits of Queen Victoria and Prince Albert and with figures representing Europe, Asia, Africa, and America. In red and black on white. Would have been a souvenir of the Great Exhibition of 1851 in London, England.
Memnon
Dubern & Cie., ca. 1780
cotton Technique: printed by engraved copper plate on plain weave
Textile

Length containing four scenes within foliate cartouches all filled with figures which illustrate a work by Voltaire called "Memnon".
Textile
, ca. 1840
cotton Technique: roller printed on plain weave

Woman surounded by putti swinging on a vine between columns of flowers. in sepia on off-white.
Textile
, early 19th century
cotton Technique: printed by engraved copper plate on plain weave

Scenes illustrating a story of a lost young woman. In purple on white.
Design for Round Table on Baluster-Shaped Support
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Round molded top raised on turned and molded baluster-shaped support carved with acanthus leaves terminating in  4 boldly scrolling splayed legs with brass feet on casters.
Border
, 1820–50
Block-printed

A group of four borders mounted on a board. The motifs include egg and dart architectural molding, beading, and floral motifs.
Picture
Leaf Coles Smith Co, English, 1850s
silk Technique: jacquard woven

Woven portrait of Queen Victoria, Prince Albert and their eldest son, Prince Albert Edward in black, tones of grey and white.
Pleated fan
, 1850–1900
Gilded silk leaf painted with tempera, carved tortoise shell sticks, silk tassel

Pleated fan. Gilded silk leaf painted in tempera. Obverse: three figure groups in a landscape. Pink patterned border. Reverse: women with fans, musician and fish-shaped kites. Carved tortoise shell sticks. Silk tassel.
Tassel
, 18th century
silk, metal thread, wooden core, linen

Skirt of strings of silk with tassels and ornaments of red silk and silver thread. Collar of red silk, head of two balls, and two vase-shaped parts covered with red silk and metal thread in a triangular design and strung on a red silk cord.
Wood Engraving. Vignette.
, 1800–1830
Engraving and etching

Cinerary urn, half covered by a cloth
Panel
, late 19th century
silk, cotton Technique: silk embroidered on plain weave

Horizonal panel with deep border embroidered in row of large flowering wreaths in blues, blue-greens, shades of rust; touches of white, black and yellow within the guard strips; similar wreath with cerise central flower in each corner of the plain central field on finely spun and woven dark cotton.
Decorated Capital Letter O
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

The letter O before St. Onofrio praying.
Study for an Angel
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Brush and brown watercolor, graphite on brown paper
Drawing

Winged figure shown from feet, on clouds, recumbent and sleeping. The wind blows the drapery upward.
Fringe
, 17th century
silk Technique: woven

Fringe with a green striped woven heading. Pink, white, yellow and green skirt threads are arranged to form colored stripes.
Textile
, late 19th century
cotton Technique: stencil resist (katazome) with some reserve on plain weave

Black and white toy design against ground of small diaper in black, blue, and faint white. Seamed down the middle, so no breadth, but two selvedges continuous with ground.
"I Don't Think It's Going Up; I Know It's Going Up!"
William Robinson Leigh, American, 1866–1955, 1901
Graphite, black crayon, brush and white gouache on cream illustration board
Drawing

Interior with two men standing beside a ticker-tape machine. The man at left is gesturing, stressing a point for his companion. Entrance with swinging doors in the background.
Study of Drapery
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on cream laid paper
Drawing

Study for drapery.
Study of Feet
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on cream paper
Drawing

Lower left, lower part of right foot seen from the top, with toes pointing towards bottom of page; left foot, seen from the side, upper right.
Fragment
, 19th century
silk, metallic Technique: plain compound satin weave with discontinuous supplementary weft (brocaded)

Fabric cut for right front of vest had a design of symmetrical small-scale flowers in rose red satin with pattern outlining in gold metallic thread.
Fragment
, 17th century
linen Technique: bobbin lace (early Valenciennes ground)

Fragment of Valenciennes with scrolling branches with blossoms and flowers.
Border
, 17th century
linen Technique: bobbin lace, continuous tape with bars added

Loosely woven scroll pattern with details in oat seed stitch. Provincial style of lace.
Trimming
, 16th century
silk, gilt foil on a silk core Technique: woven

Heading of brown silk thread with an overlay of gold threads. Gold and silk threads form a very narrow looped fringe on one border.
Sewing sample
, late 19th century
Cotton

Small square of muslin, with darned center, in cross shape, hem-stitched edge.
Study for "Diana and Her Attendants among the Constellations"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of a model's feet.
The Horse Guards
Joseph Pennell, American, active England, 1857–1926, 1907
Etching in black ink on paper
Print

The Horse Guards building is seen at the end of Horse Guards Avenue, with the Bank at the right. Many figures in the street.
Three Paneling Designs
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Three designs for decorative panels. The upper panel is a fire screen design with a vase, flowers, quiver of arrows, foliate branches, a torch, scrolling leaves, shells, a festoon of flowers. The middle panel is an overdoor panel featuring a trophy with the attributes of the arts: a lyre, harp, palette, paint brushes, books, sheets of music, and a portrait bust. The lower panel depicts the figure of Minerva as protector of the arts, surrounded by putti, within a landscape with a flying horse in the background, and framed by attributes of the arts in the corners, an owl, and scrolling leaves. The plate is signed, numbered, and dated.
Capelet
, ca. 1835
cotton Technique: printed

Cape for a young girl of printed calico with pink, green, and purple flowers sprinkled over a small ground pattern of dark brown curling lines.
E L Nouveautés 4
, 1880–90
paper, silk
Sample book

Small sample book of eighty-eight swatches of silk in multiple colors and a variety of patterns.
Cooper Union Museum Lace Study Card
, 17th–18th century
linen Technique: bobbin lace
Fragments

Two fragments of narrow straight-edged borders.
Peep-show, Vue des Environs D'ostende
N. Courteille, French, active 18th century, ca. 1750
Engraving in black ink with washes of brown, red, and black watercolors on paper, mounted
Print

Peep-show print, after painting
Panel
, ca. 1880
glass

Fans radiate from two opposites corners. The rest of the ground is diapered with depressed quatrefoils. Blue-green. (Turquoise)
Trimmings
, ca. 1725
linen Technique: needle lace (commonly called Rosaline)

Group of lace intended for costume that includes seven pieces: a collar, two cuffs, two bands, and two shaped pieces. Pattern is an allover foliate scroll design.
Border
, 16th–17th century
silk and metallic embroidery, linen foundation Technique: cutwork and embroidery on plain weave

Natural linen plain weave from which sections have been cut out to create a curving vine border with an edge of pendant blossoms. A button hole stitch is used to couch a gold metallic yarn to the cut edges, the metallic yarn looped at close intervals to create a picot effect.
Textile
, 16th–17th century
silk and metal-wrapped silk-core thread embroidery on linen foundation Technique: embroidered in counted stitches on plain weave foundation

Four lengths of linen stitched together to make a panel. Embroidered in red silk and gold metallic threads on an unbleached linen ground. Pattern of diagonal floral crosses alternating with rosettes; the crosses alternate direction with each row. With a geometric floral border at the top and bottom. Silk embroidery in counted stitches: double running, stem, and long-armed cross. Stitches using metallic yarn: chain and overcast loop.
Border
, 19th century
cotton, wool Technique: satin stitch embroidery

Component A is black cotton heavily embroidered with white cotton in a stylized floral and geometric design. Component B is black cotton heavily embroidered with white cotton in a geometric design with insets of brightly colored wool.
Table cover
, 1890
silk on linen Technique: stem, running, satin and knot stitches on plain weave; deflected element border; bobbin lace border

Seventeen embroidered gnomes walking on vines and leaves. Each carrying a different fruit, vegetable or objects such as: radishes, grapes, a wine cup, foaming beer mug, sausage, egg, carrots or turnips, cherries, wheat, mushrooms, strawberries, raspberries, lobster, and a barrel of wine dated 1890.
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: satin damask weave with supplementary weft patterning (brocaded)

Salmon colored damask weave silk brocaded in metallic yarns with white, green and blue silk showing florals with long curving stems in the ‘bizarre' style. Both selvages present.
Textile
, 18th century
silk, metal Technique: woven

Fragment with a continuous symmetrical pattern reversed on the center line of the fabric. Ornate leaf forms, one on top of the other, surrounded by a leafy scroll frame. Pattern in gold and silver outlined by ivory silk on a gold background.
Bed and Side Stand, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on cream tracing paper
Drawing

Sheet divided into upper and lower parts. Upper part shows elevation views of bed with green bedspread and pillow, with side stand. Books, vase with flowers and candlestick rest on side stand. Lower part shows plan of bed.
Double Irish Chain
Caroline Hammond Reed, American, 1819–1887, 1850–1870
cotton Technique: pieced and sewn patchwork of plain and roller-printed fabrics, quilted
Quilt

Patchwork quilt with a stepped squared diamond pattern in ivory, red and green. The ivory fabric forming the stepped diamond is plain. The red and green fabrics forming the lattice and borders are patterned by tiny flowers. The back is red with green edge.
Creamer
Joseph Angell II, English, 1816 – 1891, 1852
silver, gold
creamer

Ogival footed silver creamer; pointed handle and flared spout; engraved with plant forms in cartouche-like areas. Gilt interior.
Brillion Collection
, 1905–1915
Machine-printed paper
Frieze

Acanthus leaf border with cartouche enclosing roses, rosebuds and leaves. Numerous foliate swags and metallic gold scrolls.
Fragments
, late 17th–early 18th century
silk Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Sleeves of dalmatic. Each sleeve with upper and lower panel showing two versions of "Bizarre silk," one with large debased floral forms of Indian inspiration in yellow, with touches in blue and white, on bright pink satin ground. The other, more bizarre forms in various silver and gold threads, with touches of blue and green on rose-red satin. Edged and divided by broad gold galloon probably of the period. Lined with rust linen.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of eight-petal flowers separated by linear motifs; picot edges.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738 and 1745
Engraving on paper
Bound print

Two rocaille designs for upright wall panels. Left panel: a male portrait bust at upper center surrounded by armorial trophies. Right panel: two putti figures surrounding a palm at lower center.
Designs for Fountains
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The plate on the left depicts the base of a fountain with anguipeds on rocks on either side of a coral-haired mascaron. Above this base is the bottom of an obelisk with ram heads and garlands, and river nymphs on either side pouring out water from vases. The plate on the right depicts the base of another fountain, with lions on the bottom supporting a plaque with portrait medallions. Both plates are signed and numbered.
A Bough of Mountain Laurel with Leaves and Blossoms
Samuel Colman, American, 1832–1920, ca. 1880
Brush and gouache, graphite on dark grey paper
Drawing

Study of a branch with leaves and pink flowers. The blossoms are in various stages of their development.
Pleated fan
, 19th century
Painted silk leaf; mother-of-pearl sticks carved à jour, silvered and gilded

Pleated fan. Double taffeta leaf. Obverse painted in red ochre monochrome a scene of cupids. Reverse: plain. Sticks: mother-of-pearl, carved à jour, silvered and gilded.
Fragment
, late 19th century
cotton Technique: printed

Fragment with a geometric pattern of frets and crosses in alternate rows in two shades of brown.
Fragment
American Print Works, founded 1835, 1876
cotton Technique: printed on plain weave

White fabric in a printed design showing crossed American and British flags in black.
Mount
, early 19th century
Gilt bronze

Vertical rectangle. Repoussé figure of a nude woman with female attendants.