biglam/cooper-hewitt-alt-text huggingface dataset:
Ornament Design with Hercules
Paul Androuet Du Cerceau, French, 1623/30 – 1710, 1669–93
Etching on laid paper
Print

Fourth plate from a series of six ornament plates featuring mythological scenes. An oval medallion in the center depicts Hercules wrestling with a lion. The medallion is framed by a leaf frieze surmounted by a mascaron with a shell on their head, and acanthus leaf scrolls around its face and garlands of fleurons emanating from the shell. The medallion is surrounded by foliate scroll arabesques, featuring acanthus leaves, fleurons, branches with leaves and berries, and two profile heads. Above, drapery hangs, framing the whole from three rosettes. The plate is signed and numbered.
Designs and Plans for Chairs
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for two chairs with the plan of their seat illustrated below. The seat at left is a canapé, or bench-couch; the right is an armchair. They are decorated with foliate motifs. The plate is signed and numbered.
Study for Painting, Mount Olympus
Vito D'Anna, Italian, 1718 - 1769, 1750–60
Pen and black ink, brush and gray wash, white gouache on cream laid paper
Drawing

Vertical rectangle. Hermes flying alongside Bacchus and an unidentified goddess seated in the clouds.  Apollo and a muse, who holds a plumb-level, are seated on the row of clouds beneath them. Hercules is visible in the distance. Several putti are scattered amongst the gods in the clouds.
Panel with the Letter "V" from the "Newes ABC Büechlein"
Lukas Kilian, German, 1579 – 1637, 1627
Engraving on off-white laid paper
Print

Referring to a watchmaker ("uhrmacher"). An hourglass, sun dial, and clock are shown. Bottom part of panel is missing.
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (butt, and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, putti, birds, fruit, snakes, scrolling leaves (rinceaux), rosettes, and fleurons. The plate is numbered.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880–1881
Graphite on wove paper
Drawing

Sketch of the Grand Canal in Venice with St. Mark's cathedral in the background.
Boats in Zig-zag Formation
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This lively depiction of daily life on the traditional highway of Edo. In perfect unison are rowboats gliding in a pleasing zig-zag formation. Near the bottom of the print, workers have paused to admire the hard work and dedication these men are performing.
Design for a Woven Fabric
, 1775-1800
Brush and gouache on blue paper
Drawing

Small flower bunches alternate with strips composed of leaves and other flower bunches running vertically. Verso: stripes of floral meanders, leaves, or simply solid colors. Alternate horizontal rows decorate the ground stripes.
Sécrétaire à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a writing desk with a drop leaf. The desk is carved with minimal ornament motifs including bound leaf garland and acanthus leaves. The plate is signed.
Frame for papal inscription
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink on off-white laid paper, lined
Drawing

Above: an escutcheon framed by flower stems and above by the crossed papal keys. On top the tiara. Below, at left: a sketch for a flower stem. At right: section of the staircase of a terrace with a square in which the artist wrote the first word of the caption: "Lapide da Collocarsi in/ Albano nella Villa di Suo E[ccellen]za il P[rinci]pe D[on]/ Emilio Altieri per il Papa".
Lit Chinois
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Two designs for beds in a chinoiseries style (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia). Above, a crown canopy (baldachin) bed topped with feather finials, and hanging swags of textiles, with bells, tassels, and passementeries. The headboard and footboard are the same height, the back of boards feature floral motifs, with hanging festoons of flowers. The frame is carved with fleurons, an acanthus leaf clasp, scrolling leaves (rinceaux), and tassels. The lower design is a bed without a canopy, in the style of a daybed, view from the front. The bed linen features floral motifs, the skirt has hanging swags of textiles with tassels and bows. The bed frame is carved with scrolling acanthus leaves, hanging tassels and bells. A scale below each design. The plate is titled, numbered, and signed.
Maine Coast, Mt. Desert Island
Frederic Edwin Church, American, 1826–1900, July–September 1850
Oil on tan wove paper
drawing

Seascape and landscape sketch showing an elevated view of the ocean and nearby coastal rocks off the shore of Maine. Dark blue, rippling ocean water extends from the foreground to the background, while a rocky outcropping protrudes from the water in the middle distance at right. One diminutive ship is visible near the horizon at center, its two masts barely visible. Above, the open sky is rendered in a transparent shade of dark blue that allows the brick-colored ground to remain visible. This lateritious ground color is visible along the lower portion of the composition as well.
Vase with Flowers
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a two-handled upside-down pear-shaped vase on a support or bracket, with sprigs of flowers and leaves intertwined. The body of the vase is decorated with gadrooning, and bulbous cartouches framed by scrolling leaves (rinceaux), with squared handles.
Six tombs
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

In the center is a round pedestal, with the statue of a woman standing, who carries in her left hand a cross and leans with left arm upon a medallion with the bust portrait of a ruler, standing beside her. At left, beside the pedestal sits a putto. Above, at left, horizontally, a monument, a variation of -1293. Above, left, with a group which is a variation is that usual in -1254. The right lowered arm of the woman is stretched out and a second putti seems to sit at her left. Central row at left: upon a pedestal sit two figures in front of a sarcophagus. Above, is the statue of a woman carrying the cross in her right hand. Beside her, a sitting putto supports a medallion, at right, and another kneels at left. At right, the monument is a variation of -1298 (below, right). The sitting figures are putti with trumpets. They support an escutcheon between them. Above, the statue of a standing woman supporting a medallion beside her with her left hand. Lower row: At left, a sketch for the statue of a standing woman. Center: Below, the sarcophagus stands with a cloth lying upon it. Above is a pedestal with two figures sitting beside upper part. On top, a figure similar to center row right. At right, a variation of center row left. A relief is in the panel of the pedestal. The sarcophagus is tube-like and in front of it a medallion is supported by a genius and a putto. On top is a figure similar to the second project in the lower row in -1254. The projects of the entire monument have the usual architectural setting with a niche. The entablature is shown center left with the eschutcheon between putti in front of the page. The niche for the central part has been roughly outlined by over-drawing the other designs where necessary.
Italian Farmhouse
Frederic Edwin Church, American, 1826–1900, September 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Architectural sketch showing an oblique view of a rustic, Italian farmhouse. A staircase of eight steps leads to an elevated front porch. Roof is madeup of shingled tiles with a chimney at left. Window also shown at left.

Verso: Loosely rendered atmospheric sketch showing a view of a vibrant and varied sunset sky. Layers of differently-textured and -colored clouds overlay one another in a nearly abstracted view of the sky.
Chimborazo through Rising Mist and Clouds, Ecuador
Frederic Edwin Church, American, 1826–1900, June–July 1857
Brush and oil paint, graphite on off-white paperboard
Drawing

Landscape sketch showing a view of the stratovolcano known as Chimborazo through rising mist and clouds, likely viewed from the vicinity of Guaranda in Ecuador. The middle distance comprises of dimly lit, rolling terrain with numerous hills and fields that is cut off in the distance by a long band of rising mist, articulated in bluish gray tones. A rugged, brown mountain range with rocky summits peeks out above this bank of mist at center and right, while a bank of dark, reddish-brown clouds looms above it. At upper right, the full moon is visible through a window in these clouds. In the background at left, the snow-capped peak of Chimborazo towers over the scene with its twin, rounded peaks. The tan ground is visible along the lower margin in the foreground, which is only rendered in graphite.
Fragment
, 17th–18th century
silk (red warp, white weft) Technique: 4&1 satin damask

Bell tower with palm fronds on either side with text.
Design for a Chandelier
, ca. 1830
Pen and black ink, brush and yellow-brown, green-blue watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a chandelier. Below are four metal rings of increasing diameter, each with glass drops. The fourth ring from the bottom is the largest one; to it are fastened eight pairs of arms--five are shown--supporting the socket for the burning candles. Above it is a smaller ring, which forms the rim of a diamond glass bowl. To it are fastened sixteen arms--eight are shown, which support sockets, in which alternately glass and burning candles stick. The glass candles are connected by a glass chain. One more light is shown in the center, its exact position unclear. Above are more drops suspended. At the upper edge are traces of a caption. Below is the scale.
Fashion Accessories
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketches of a lady's purse and shoes.
Kettle and stand
Christopher Dresser, Scottish, 1834–1904, ca. 1885
copper, brass, ebony (kettle), wrought iron (stand)

Wrought iron stand (d) on three legs, with tendril curls of iron to create struts between legs, and to form overhanging curved handle. Globular copper kettle (a) with flared neck, angled spout, and three legs, with inset lid (b) with turned ebony finial. Pot with brass handles and cylindrical ebony handle, which hangs from overhanging iron stand above a copper burner (c).
Toast Rack
James Dixon & Sons, Sheffield, England, United Kingdom, ca. 1879
silver plated, metal
toast rack

In the form of an openwork frame, the rectangular base set with seven alternating triangular supports along length of base; tall T-shaped handle rises from center; short peg foot at each corner of base.
Bracelet
, ca. 1850–70
Hair (human), gold, citrine

Bracelet formed from flat woven brown hair band. Male clasp section in gold with engraved scrolls. Female clasp section hinged, with cartouche-shaped section, both sections engraved with scrolls. Center of female clasp set with pale yellow oval facetted stone (citrine?).
Design for Wall Panel on Theme of Diana
Gabriel Huquier, French, 1695–1772, ca. 1730
Black chalk, brush and gray wash, traces of stylus on cream laid paper
Drawing

A statue of Diana in pursuit, accompanied by a dog, appears on a garlanded pedestal set on a platform from which is suspended an escalloped lambrequin.  Drapery is suspended from eye-brow volutes and caught at the sides by herm figures.  Arabesque frame, mingling with trees at the sides, includes scrolls, bat-wing, and trellis ornamentation.
African Marigold
Morris & Co., London, England, 1876
cotton Technique: printed
Textile

Symmetrical design of long leafy shoots intertwining to form frames containing large poppy-like flowers and smaller roses. In blue, green, and orange on a white ground.
Floor Plan for the Second Floor of the Home of Hector Guimard, 22 Rue Mozart
Hector Guimard, French, 1867–1942, 1909
Photostat, pen and brown ink on paper
Photostat

Floor plan for the home of Hector Guimard, detailing the layout, scale and function of the rooms for the second floor.
Portrait of Monnoyer from "Le Livre de toutes sortes de fleurs d'après nature"
Jean-Baptiste Monnoyer, French, 1636–1699, 1670–1680
Engraving on paper
Bound print

Portrait of Monnoyer, from "Le Livre de toutes sortes de fleurs d'après nature," book of bound engravings.
Trimming
, 17th century
silk, metallic thread Technique: bobbin lace

Gold lace border with one scalloped edge. Above scallops are areas of openwork, and a section with six closely-woven blocks. In yellow silk and metallic thread.
Stage Design: Palace Interior
Alessandro Galli Bibiena, 1686 – 1748, ca. 1720–40
Pen and brown ink, gray, brown wash Support: white laid paper
Drawing

Horizontal rectangle - high hall running from right to left side backwards, flat ceiling richly decorated
Costume Design: Africa for a Ballet
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. A young man is shown frontally, carrying a shield with his left hand, and a spear in his right one. Written in ink, on top: "Sigr Co. Onofrio Campori," and an abbreviation; below: "Africa".
Pendant
, possibly late 18th century
wood, painted and gilded

fragment
Cooper Union Museum Lace Study Card
Cooper Union Museum, 17th century
linen Technique: bobbin lace
Fragment

Two fragments, each of two rounded points. Tightly-worked design of conventionalized floral motifs. Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Hercules Killing Cacus
Hendrik Goltzius, Netherlandish, 1558 – 1617, 1588
Chiaroscuro woodcut from three blocks in black, yellow, and olive-green, on laid paper
Print

Vertical rectangle. Interior of a cavern, with the struggling figures of Hercules and Cacus in the foreground. Hercules stands over the fallen Cacus, his club held with two hands high above his head, about to strike his adversary. Other figures in background. Cattle, at right.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground of three repeated stripes; the first a solid pale green with small repeat pattern of white  rosebuds, the second, uniformly narrow grey and white stripes, the third a paint moire pattern molette printed in grey on white and overprinted with repeat of pink rosebuds.
Peep-show, Le Cingle, la Tour de Jan-Rooden-Poort, et la Nouvelle Eglist Lutherienne, à Amsterdam, No. 15
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Design for a Woven or Embroidered Horizontal Border, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

The repeats, of which four are shown, consist of a rose bough rising from behind a calyx.
Fragment
, late 18th century
linen Technique: bobbin lace

Border with a picot edge. Design of small, squarish flowering brances. Round mesh. Valenciennes style.
Jacquard-woven Ribbon: Columbus Leaving Spain, August 3, 1492
Christopher Columbus, Italian, d. 1506, 1885–95
Machine-woven silk, mounted on thick gray wove pap
woven silk

Horizontal format; Columbus and his retinue in a small boat receive the blessing of a priest standing among a group on the shore, left. Matted with -27.
Fragments
, 19th century
linen Technique: bobbin lace (Lille-style with heavy outlining thread)

Lille-style fragments with a pattern of floral forms separated by scrolls.
Panel
, late 19th century
silk Technique: embroidery on plain satin weave

Cream-colored panel embroidered with pastel silks and touches of black with large central design of big and small dragons with flaming pearl and fish in delicate cloud and water conventions. Enclosing border set in from edge of smaller dragons, lotus, and flaming pearl. Deep knotted tan silk fringe. Lined with pongee.
Fragments
, 15th century
silk Technique: 4&1 satin patterned by plain weave

Affronted crowned lions within cartouches in green, yellow and white on red. This is the same design as 1902-1-316 but a different fabric. Among other things the lion's mane is different.
Design for a Jewel Box with Earrings, a Pearl Necklace, and a Bracelet
, ca. 1850
Graphite, brush and blue watercolor wash on paper
Drawing

Plan of a jewel box containing earrings, a pearl necklace, and a bracelet. Necklace and bracelet consist of five strings of pearls.
Trimming
, 17th century
metal-wrapped silk thread Technique: bobbin lace

Design of lozenges with solid blocks at intervals. Scallops on one edge and picots on the other.
Fragment
, 17th–18th century
linen Technique: bobbin lace

Closely-spaced, tightly worked design of ribbon-like flower and leaf motifs. Deeply scalloped edge.
Fragment
, 16th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Panel with a design of four narrow horizontal bands. Two middle bands have an alternating checkerboard and diamond pattern.
Portrait of George Gordon Lord Byron
Thomas Phillibrown, British, active 1834 - 1860, ca. 1840
Engraving on paper
Print

Half length portrait of the English poet, George Gordon Lord Byron (1788-1824), facing one quarter to the right, his gaze directed over his right shoulder. He wears a large cloak thrown loosely over his right shoulder.
Two Floral Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Fifth plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. Two fleurons or tailpieces, one above the other, made of flowers, fruit, leaves, ribbons, and branches. The plate is numbered and signed.
Escutcheon
, ca. 1740–50
Brass

Shaped and pierced plate, undecorated.
GROUPES DE FANTAISIES Inventé et Gravés PAR R.M. PARISET A PARIS
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Album

An album of seven fantastical ornamental vignettes from a series of eight by Pariset. The plates are signed.
Library
Unknown, English, possibly 1850s
Brush and watercolor and graphite
Drawing

In this sketchily drawn angled view of a library interior, a woman is seated on a brown sofa in front of a square table covered with a green cloth. A portrait and what appears to be a ship painting hang on the wall above. A bookshelf alcove is separated from the sitting area by a column on base with a capital in the Ionic style.
A French Restoration Bedroom
Bouilhet, French, 1823
Brush and watercolor over graphite on white wove paper
Drawing

The style of this small but elegantly decorated bedroom is a reaction to the ornate, gilded and ormolu-encrusted taste of the Empire period. Pale gray paneled walls and polished floorboards create a subdued background. Windows are hung with white muslin curtains, the swags trimmed with tassels. A simple blue needlepoint rug is placed on the floor in front of a blue velvet settee. A tall, six-drawer chest with a white marble top, a small cylindrical bedside table and a corner dressing table-with-mirror reflect the new concept of design in the Restoration period in France.
Album of Ornament Designs and Elevations
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, mid- 18th century
Album

Album of designs for rococo ornament and cartouches bound with elevations of church interiors.
No. 103
Theophil Hansen, Dutch, 1813 - 1891, 1866
Mouth-blown crystal, cut and polished ornaments
Wine pitcher with stopper

Mouth-blown crystal pitcher with stopper, cut and polished ornamental engraving in the "Greek" style.
Overdoor Panel from 'Eldorado'
Zuber & Cie, Rixheim, Alsace, France, founded 1797, 1849
painted paper
overdoor panel

Unprinted blue sky. Part of a set of 24 scenic panels and 5 plain overdoors in pattern "Eldorado", which depicts the mythical city of El Dorado and a combination of Gothic architecture, temple ruins, mountainscapes, heavy vegetation of flowers and trees, and peacocks.
Design for Mahogany Serving Table on Fluted Legs
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Rectangular top with two-drawer unit and backsplash resting on four straight, yet tapered, fluted legs terminating in pear-shaped feet.  Lower shelf attaches midway above floor level.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cu: All-over pattern of branches laden with different ...
Chrysanthemum Pattern Luncheon Knife
Charles T. Grosjean, American, d. 1888, ca. 1880
silver, steel
knife

1957-61-46-a: Elongated rectangular steel blade with rounded poi...;     1957-61-46-b: Elongated rectangular steel blade with rounded poi...;     1957-61-46-c: Elongated rectangular steel blade with rounded poi...;     1957-61-46-d: Elongated rectangular steel blade with rounded poi...;     1957-61-46-e: Elongated rectangular steel blade with rounded poi...;     1957-61-46-f: Elongated rectangular steel blade with rounded poi...;     1957-61-46-g: Elongated rectangular steel blade with rounded poi...;     1957-61-46-h: Elongated rectangular steel blade with rounded poi...;     1957-61-46-i: Elongated rectangular steel blade with rounded poi...;     1957-61-46-j: Elongated rectangular steel blade with rounded poi...;     1957-61-46-k: Elongated rectangular steel blade with rounded poi...;     1957-61-46-l: Elongated rectangular steel blade with rounded poi...
Ginger Jar
, 19th century
porcelain, porcelain enamel
jar

1977-40-8-a,b: Porcelain vase and cover with nature scenes and fl...;     1977-40-9-a,b: Porcelain vase and cover with nature scenes and fl...
Sidewall
, 1875–1900
Machine-printed on paper

Allover treillage composed of foliate pinwheels in beige on light peach ground.
Bookpaper ("Dutch Gilt?)
, 1700–1750
Ink, woodblock, stencil Support: paper
Decorated paper

Pattern of curvilinear botanical motifs in light green, dark green, purple, and mustard inks; traces of stenciled gold; paper has been embossed by woodblock and/or stencil processes.
Sidewall - sample
, 1906–08
Machine-printed paper

Staggered anthemion motifs in black on a red ground.
Bag
, ca. 1600
silk, silver-wrapped silk thread, linen Technique: embroidery with brick and plaited braid stitch on linen plain weave foundation

Worked as a single panel, folded with seams covered with plaited braid stitch. Same pattern on reverse. Drawstring was threaded through the embroidery.
Sampler
, 19th century
wool embroidery on cotton foundation Technique: embroidered in cross, long-armed cross, running, double running, herringbone, and withdrawn element work on plain weave foundation

Large sampler of pattern bands and isolated motifs.
Study of landscape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and watercolor, graphite on paper
Drawing

Sketch of a landscape with ruins.
Sketchbook Page: Man in Profile
Kenyon Cox, American, 1856–1919, 1877–78
Black pastel, charcoal on blue-grey laid paper
Sketchbook folio

Bust of man with beard shown in right profile.
Plate, from the "Eden" Service (One of Sixteen)
Sèvres Porcelain Manufactory, French, established 1756, 1787
soft paste porcelain, vitreous enamel, gold
plate

Circular molded plate with broad rim painted in purple ground with con- tinuous enameled and gilded floral swags in blue, pink, and green, with gilded scallops. Center with floral border, gilded edge, and central spray ofroses against purple ground.
Fragment
, late 17th century
linen Technique: bobbin lace (Valenciennes style with twisted ground)

Bobbin lace band attached to narrow strip of linen. Pattern of symmetrical branching leaves with scalloped edge.
Butter plate
, mid- 19th century
Tin-glazed earthenware, transfer-printed decoration

Marli with wavy edge. Mauve transfer print of horses pulling rake, in flower and scroll framing.