biglam/cooper-hewitt-alt-text huggingface dataset:
L'Ouie
François-Thomas Mondon, French, 1709 – 1755, ca. 1736-55
Etching and engraving on laid paper
Print

An allegory for the sense of hearing featuring a woman playing a guitar next to a man playing a flute. The pair are seated on rocks in a landscape framed by rococo ornament of c-scrolls, and festoons of flowers. In the foreground, a bagpipe on the ground with sheet music and a shepherd's stick. Trees in the background with three sheep to the right. A man and woman seated to the left of the musicians. The plate is titled and signed.
Projets de Ponts en Perspective
Giovanni Paolo Gaspari, 1714 – 1775, 18th century
Etching and engraving on off-white laid paper
Print

Designs for bridges over water, decorated with ornament motifs including statues, scrolls, diamonds, wave pattern, columns, mascaron, lion heads, niches with sculpture, rosettes, drapery, and brickwork. The plate is signed.
Print
, 18th century
Black ink and watercolors on paper

Horizontal strip. Hunter and hounds pursuing rabbits, the action directed toward the right, with the figures located between three groups of trees. Two tones of green, brown, and red.
Cartouche with Central Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment, the lower part of which includes the series title. The upper compartment contains a scene of a shepherd, a young woman, and a child in a rustic landscape. The cartouche is comprised of ornament elements including scroll, branches, dragons, and flower bouquets. The plate is signed and numbered.
Design for Cartouche Evoking Aquatic Elements
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Cartouche decorated with aquatic elements: an oar, water reeds, and a trident at upper left; coral, shellfish, and shells at lower left.
Playing card
, ca. 1855
Red and black ink, paper

At top: P 1 C; below central image: 3
Sprays of Seven ideal Flowers and of one quasi naturalistic flower
Jean-Baptiste Pillement, French, 1728–1808, 1775–1800
Black, red crayon on cream paper
Drawing

Disposed in three horizontal rows. Several groups of fantastical flowers on branches and one naturalistic group in lower right, all in red and black.
Sofa
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on beige laid paper
Drawing

Sofa.
Wall with Canapé and Mirror
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for interior wall with wainscoting and decorative panels in various styles at left and right. At center, a large framed mirror with an ornate upholstered canapé sofa below. Flanking the sofa are two console tables, the bases with rocaille forms bearing dragons. On the table at left, candelabrum and vases. On the table at right, a clock topped with a figure of Time holding an hourglass and a scythe. Scale at lower left.
The Virgin and Child Enthroned
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, pen and ink on paper
Drawing

The Virgin and Child enthroned with figures above.
Funeral Decoration
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Representation of one of the sides of the funeral decoration in the nave of the Church of St. Gervais for Louis Boucherat, Chancelier de France and Garde des Sceaux (1619-1699), on December 11, 1699. The space is decorated with coats-of-arms and winged skulls and full of attendees. The plate is not signed.
Project: The elevation of a Victory monument
Giuseppe Valadier, Italian, 1762–1839, ca. 1820
Pencil. Brush, various watercolors. Paper.
Drawing

Vertical rectangle. Similar 1901-39-2190.  The standing figures beside the lateral seated ones are omitted. Women are seated.  That at the front is flanked by Barbars.  The pedestals of the panoplies have been heightened and they show figures in relief.  Proportions have been changed.
Fragment
, 10th–12th century
linen, silk Technique: plain weave with counted running stitch and bordered with slit tapestry

Narrow horizontal band, the center of which is embroidered with stylized floral forms in blue, green, red and yellow silk. Edges are embroidered in a geometric pattern. Trimmed with fragments of slit tapestry.
Sketch of Right Hand for Portrait of Mrs. Kennedy
Daniel Huntington, American, 1816–1906, 1879
Graphite on paper
Drawing

Sketch of right hand on arm of chair.
Mixed Sketches, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on tan wove paper
Drawing

Mixed sketches around Catskill, New York, showing a boulder in some detail that is covered in moss, at lower left, a faint deciduous tree beside a house at center, a gnarled tree trunk at center right, and along the upper margin, a grazing lamb seen obliquely from the rear and three views of the heads of lambs. 

Verso: Botanical sketch showing a view of the trunk of a birch tree, which grows diagonally from lower left to center. The tree's paper-like bark visibly peels off, giving the trunk a varied texture. The tree's branches and lower boughs are not rendered.
Frieze
, ca. 1880
Machine-printed paper

Narrow bands of geometric ornament across top and bottom. Long narrow panels, trefoil-headed, set with conventionalized axial passion-flower, above small tangent semi-circles enclosing conventional half-water lilies. Paper embossed with pebbled figure.
Color: Blue, tans and red-violet.
Used as a frieze with 1939-45-7
Portrait of a Lady
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The lady sits in a high backed seat, her h ead on her left hand, her left elbow resting on an arm of the seat. She faces right in a contemplative attitude with her right hand on the seat beside her.
Designs for Torcheres, a Lectern, and a Sconce
Lange, active 1730 – 1750, mid- 18th century
Etching and engraving on laid paper
Print

A sheet with a central design for a liturgical lectern decorated with rocaille motifs, masks, an eagle, angel, shell, and acanthus leaf motifs. Two designs for torcheres on either side with scales. The torcheres decorated with rocaille motifs, palm leaves, trophies, cartouches, and putti. A candlestick in the upper left and a sconce in the upper right, decorated with rocaille motifs, cartouches, acanthus leaves, c-scrolls, and fleurons.
Approaching Tequendama Falls, Colombia
Frederic Edwin Church, American, 1826–1900, June 20-30, 1853
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the ravine that hosts Tequendama Falls in Colombia. In the foreground, nearby mountainsides steeply descend into the heavily wooded ravine, which zig-zags its way up the rugged terrain to the basin of the falls--barely visible in the middle distance at center. At left and right, the sheer cliffsides that flank Tequendama Falls are visible. At center, just over a wooded ridge, a plume of mist produced by the falls rises upwards. The heavily wooded rim of the basin is visible in the background. At right, a basic sketch of a macaw is included, while another rudimentary sketch of a human figure is visible at lower left. Below it, a detailed sketch of a dog's head and the outline of a crouching cat are included.

Verso: Landscape sketch showing the loosely rendered outline of a heavily wooded mountain ridge.
Le Palais de Cesar dans le Faubourg a Vienne appellé Favorita (The Caesar's Palace outside Vienna, called Favorita)
Chez Daumont, active 18th century, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the Habsburg royal palace, known as Favorita, in the outskirts of Vienna. Viewed obliquely, the palace extends from right to left, receding towards the distance at right. The blue-roofed structure features a small pointed tower and cut-out windows with fabric and thread visible through the openings. The flat area in front of the palace is crowded with figures, with strolling pedestrians, carriages, and men on horseback. Above the scene, a layer of clouds sits below a bright blue sky along the upper margin. Printed along bottom margin: A Paris chez Daumont rue St. Martin

Verso: Patches of colored fabric, visibly attached with thread. Printed label: 65e. VUE D'OPTIQUE Représentant / Le Palais de Cesar dans le Faubourg a Vienne appellé Favorita.
Plate from Frises pour les architraves, cornices, et autres ornements d'architecture (Friezes Intended for Ornamenting Architecture, Cornices, and Other Architectural Elements)
Jean Le Pautre, French, 1618–1682, ca. 1660
Etching on paper
Print

Sheet divided horizontally into four friezes. From the top: a sea monster; eagles with a festoon; a woman with a cloth; and putti with a dolphin and a river god mask.
Demies Commodes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two small dressers, each with two small top drawers and one longer lower drawer. The dressers are decorated with ornament motifs including lamb tongue, lion head with ring pull, rosettes, garland, and crossed branches. The plate is signed.
Border
, early 19th century
linen Technique: bobbin lace, Mechlin style

Border of Mechlin lace has the upper part ornamented with buds in diagonal rows. At the border, a row of scrolls with flowers and leaves. Edge is straight.
Thalia, Muse of Comedy and Calliope, Muse of Epic Poetry
Felice Giani, Italian, 1758–1823, ca. 1820
Black chalk on laid paper
Drawing

Two women walking to the left. Calliope, at right, reads a book and Thalia, at left holds a mask.
Design for an Apartment Door
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of an apartment door. The plate is not signed or numbered.
Putto
Fortunato Duranti, Italian, 1787 - 1863, 1820
Graphite, pen and bistre ink on paper
Drawing

The running figure of a nude putto, moving toward the left. He holds a kind of vessel above his head. Landscape briefly indicated.
CRADLE
Unknown, ca. 1580
pen and brown ink with brown wash and traces of graphite
Drawing

off-white laid paper on secondary paper support
Design for an Urn
, 1780–1820
Pen and ink, brush and sepia on paper
Drawing

An amphora with high handles and the head of a centaur on top.
View along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Landscape sketch showing a view of the Magdalena River in Colombia and the surrounding terrain. The river's surface extends and tapers from the foreground into the middle distance, where it curves around a bank. At left and right, heavily wooded banks frame the view of the distant shoreline and the overlapping mountain ridges beyond. At lower right, a detail of the steep riverbank and its dense vegetation is included.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, topped by a rocaille element, two cornucopias, and two small dragons. Banners at left and right sides, a mask at lower center.
Design for a Necklace
, mid- 18th century
Pen and black ink, brush and gray watercolor, graphite on paper
Drawing

Jewelry design for a necklace made up of an ornamented chain with hanging pendants at center. The chain consists of interlaced oval escutcheons of ribbons and wreaths, connected by blossoms in the center of the escutcheons. Hanging is a tripartite garland, with drops hanging at the sides and a large one in the center, hanging from a knot.
Autumn in Vermont
Frederic Edwin Church, American, 1826–1900, possibly 1873-1874
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of vibrant autumn foliage in the mountains of Vermont. In the foreground, a group of boulders are visible at left, which stand on green meadow that extends into the middle distance. At center, a tree with vibrant yellow leaves--many of which already blanket the ground--acts as luminous centerpiece to the composition. Another tree at right is shown in a deep hue of red. A grove of red and green trees are visible at left, while in the background, a mountain ridge descends from right to left, leading to a view of a mountain summit at upper left. Above, white, wispy clouds hang in an otherwise blue sky.
Match container and cover
, early 19th century
wood, turned, lignum vitae

Turned body of baluster profile, with molded bands at lip below threaded screw for cover. Cover circular with raised molding. The underside of base applied with granite paper for striking friction matches.
The Statue Before the Ruins
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A landscape with three figures on a pedestal next to a statue of a female figure and architectural fragments. Another figure stands in an archway of a wall, with a classical structure in ruins in the background consisting of columns supporting an entablature with overgrown foliage and branches. The plate is numbered.
Textile
John Hewson, English, 1744–1821, 1780–1810
cotton Technique: block printed on plain weave

Natural-colored square printed with a central urn of flowers and wheat stalks surrounded by isolated motifs of butterflies, and birds in trees and on sprigs. Printed in black, blue, tan, yellow, and two shades of red.
Design for Silver Engraving: Seated Woman
Tommi Parzinger, American, born Germany, 1903–1981, 1920–30
Pen and black ink on cream tracing paper
Drawing

Seated woman holding platter with fruit.
Ink well and lid
Louis Comfort Tiffany, American, 1848–1933, ca. 1910-20
Glass, bronze

One piece of a six-piece desk set. Round ink well with lid decorated favrille glass in a grapevine pattern.
Textile
J.P.Meiller et Cie., 1792 – 1826, ca. 1795
cotton Technique: printed by block on plain weave; two blocks were used; one for red, one for black; the black block had an irregular outline within the picotage area

Roses within a grid of vine leaves in red and black on a black patterned picotage background. Factory mark along bottom edge.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Black chalk, pen, brush, brown. Paper

Vertical rectangle. A variation of -2214. Beside the shaft are two standing angels. The receptacle has the shape of an ovoid, with the Title of the Cross, in three lines. On top is the figure of the blessing Christ Child with the Cross-staff. The angels beside the foot of the pediment are standing upon its base and the scrolls.
Portrait of an Unknown Man
Julius Caesar Thaeter, German, 1804 - 1870, ca. 1840–1850
Steel engraving on paper
Print

Bust portrait of a middle-aged man, seen frontally, wearing a dark stock. His coat is shown in outline only.
A View of Hampstead
Robert Sayer, British, 1725 - 1794, ca. 1780-1800
Engraving on paper
Print

Strollers and a coach are seen on a highway leading toward a village in the distance.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on two pieces of cream wove paper, pasted together
Drawing

Standing figure facing left in heavy drapery, left arm extended.
Pendant
André Galle, France, 1761 - 1844, ca. 1814
Gilt bronze

Medal commemorating Tsar Alexander I of Russia. Obverse shows laureate head of the Emperor, and the inscription: ALEXANDER I. IMP. RUSSORUM. Uniface, in contemporary ornate frame with suspension ring.
Bobbin Lace 2
Cooper Union Museum, 17th century
linen Technique: bobbin lace
Fragments

Scallops of bobbin lace forming a border.
Sketch of Three Angels
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Black crayon on tracing paper
Drawing

Two heads and bust of an angel, shown with hands clasped.
Box and game pieces
Marten de Vos, Flemish, 1532-1603, late 17th century
Engraved and stained ivory

Game-counter box, rectangular, with red- and green-stained hinged cover showing female figure representing Asia, with censer and turban, seated on a camel-drawn chariot, with attendant in backgound. Inside, game counters. One of a set of four boxes (1960-1-13-1a/v / 4a/v).
Tunic fragment
, 19th century
silk Technique: buttonhole and chain stitch embroidery on plain weave

Fragment of a child's tunic with a ground of red silk decorated with green discs and a border at one side of semi-circles and ovals placed in a lattice format with connecting chevrons.
Self Portrait in a Fur Cap: Bust
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1630
Etching on laid paper
Print

Bust length portrait of the artist, turned toward the right, looking out at the spectator, the head shown in three-quarters view. He wears a fur cap.
Fragment
, 17th century
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Woven, symmetrical arrangement of multicolor flowers on a blue background.
St. Matthew, from The Four Evangelists
Hans Sebald Beham, German, 1500–1550, 1541
Engraving on laid paper
print

Vertical rectangle. A winged figure, standing, the figure turned toward the spectator, the head in profile to the left. He holds a pen in his right hand: a book in his left hand. A small angel is seen at the left.
The Coat of Arms of a Prince of Wales
, ca. 1845
Wood engraving on paper
Print

Three feathers rising from a crown. "ICH DIEN" on a paper scroll, underneath.
Seated Magus Observing Skulls, and Other Figures, plate 5 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number
In the center, a seated magician is observing some skulls, among which sits an owl. To the right, a standing shepherd and a flock of sheep. At left, a group of half figures, and a cauldron containing bones.
Veüe perspective de la décoration élevée sur la terrasse du Château de Versailles pour l’illumination et le feu d’artifice qui a été tiré à l’occasion du mariage de Madame Louise-Elisabeth de France avec Don Philippe Second Jnfant d’Espagne le XXVI Aoust M.DCC. XXXIX.
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Exterior view of the terraces of the Palace at Versailles showing a decorated landscape in preparation for a fireworks display celebrating the marriage of Madame Louise-Elisabeth of France to Philip of Spain. In the background, an elaborate arched colonnade with topiaries and plants in the archways. At left and right, fountains occupy the niches of larger arches with sculptures on pedestals populating the surrounding niches. In the center background, a large group of arches decorated with sculptures. In the middle ground at left and right, two large pools of water with a grotto at the center, from which emanate fountains in a radial pattern. Within each grotto, groups of figures. Surrounding the pool, groups of statues. Within the rest of the grounds, many crowds of various male and female figures in fine clothing gather for the celebration.
Fragment
, 18th century
silk, metallic thread Technique: plain compound weave

Fragment that once was part of a western garment for it has buttonholes
Collar
, late 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Collar with openwork bands forming medallions with central bouquets. Technique commonly referred to as Brussels Point de Gaze.
Ornament
, 19th century
Painted paper, glass, cut steel

Miniature portrait of a lady painted in watercolor on paper and carved with glass, mounted in frame of cut steel.  On the back at the top and bottom is a curved piece of steel pierced by six holes.
Vase Mounted as Ewer
, mid-19th century
porcelain, vitreous enamel, gold, bronze
ewer

Baluster-shaped vases with ormolu mounts in shape of ewer. Interior scene with figures, animals, porcelains and flowers in overglaze enamel in "famille rose" colors.
Fragment
, ca. 1700
silk, metallic thread Technique: plain compound satin weave

Fragment of a larger pattern showing "Bizarre style." Parts of flowers and leaves in pink, red, blue, green, and white silk on a gold metallic background.
Sampler
, early 18th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Small embroidered sampler with a grid composition of three by five squares, each with a different geometric  pattern including diamonds, stripes and zigzags; worked in shades of black, brown, grey, light blue, light green, yellow, salmon-pink, and ivory. Bound on all four edges with ivory silk ribbon, with a bow at each corner.
Textile
, 1785–95
linen warp, cotton weft Technique: block printed on plain weave

Polychrome design of flowers and stems on a vermicular background.
The Village Marriage
, ca. 1820
Printed by engraved plate on cotton plain weave.
Textile

Four scenes, captioned in French, illustrating courtship and marriage. In purple on white.
Button
, late 18th century
Copper, nickel plated

1931-59-224-b: Two flat circular buttons; A) ornamented with engr...
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and ornament design for a round medallion or frame surrounded by floral motifs, flowers, festoons of flowers, tassels, beads, scrolling acanthus leaves (rinceaux), and a rosette running pattern around the frame, with a festoon of laurel leaves. The plate is titled, numbered, and signed.
Wine rinser
, 18th century
Cut and engraved glass

1968-160-3-a: Basin shaped with vertical impressions along lower...;     1968-160-3-b: Basin shaped with vertical impressions along lower...;     1968-160-3-c: Basin shaped with vertical impressions along lower...;     1968-160-3-d: Basin shaped with vertical impressions along lower...;     1968-160-3-e: Basin shaped with vertical impressions along lower...;     1968-160-3-f: Basin shaped with vertical impressions along lower...
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On tan ground, green vines and pink, white, and red clusters of flowers.
Grand Central Depot, End View
Unknown, American, ca. 1875
Albumen prints mounted on yellow cardboard
Photograph

View of the exterior of the building, an adaptation of the French Renaissance style
Wig stand
, mid-18th century
Tin-glazed earthenware, underglaze and overglaze decoration

On pierced globe, a continuous landscape that includes figures and a tree, in cobalt blue and manganese purple. Brown overglaze partially scraped off. Tri-foil scroll design on pedestal.
Border - sample
, 1906–08
Machine-printed paper

Floral sprigs perched atop C-scrolls, which rest on metallic green shading at bottom. Background changes in color from red at bottom to cream colored at top.
Westminster Abbey, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Church interior with high Gothic arches. Baroque tombs and statues between the pillars. A few sightseers. Title, artists', and publisher's names below.
Vase
P V M, ca. 1800
Tin-glazed earthenware

Tall, twisted, fluted eight-sided vase with short flared foot and flaring mouth with shaped rim; painted in underglaze blue on white with eight vertical panels each with flower bottom, alternate mid-sections of landscapes or flowers, top section of flowers.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

On beige ground with light brown specks, square banners on stands in green containing yellow shapes, such as spades and fleur-de-lis, topped with roses in brown and crowned with yellow scrolls, all connected by yellow "chains." Lower border with yellow acanthus leaves and scrolls.
Child's waistcoat
, 1790–1800
silk Technique: embroidered in satin, stem and knot stitches on satin weave

Child's short waistcoat with high standing collar, embroidered with scattered patriotic motifs including shields, crests, and drums with crossed flags, in many colors on white.
Frieze
, 1905–1915
Machine-printed paper

Large and small medallions alternating. Each medallion has a deep red interior and contains a fleur-de-lis. These are printed on a striped background which also contains small fleur-de-lis. Dark brown shading at bottom of frieze.