biglam/cooper-hewitt-alt-text huggingface dataset:
Goldfish
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu),
Katagami

Scattered around the stencil are tiny goldfish. Punching and carving methods have both been applied to create the whimsical image. Dispersed throughout the design are tiny floral blossoms that mimic the details of the fish. The top edge appears to be a bit battered in places while there are splotches of some light brown material. Overall the stencil is uneven in color but appears to be in decent shape.
Textile
, late 18th century
cotton Technique: block printed on plain weave

Off-white cotton, block printed in a floral design in red, blue, yellow, and green, outlined in dark brown. Ascending spirals of green-blue ribbon with curved clusters of small flowers form vertical columns, in the spaces a floral sprig with a large red flower alternates with a curving foliage pattern in violet and blue. The background is filled with a picotage pattern in black. b) is cut from upper left corner of a).
Lock and key
, early 19th century
Iron

Orb form with keyhole.
Sea Shore
Eugène Edouard Soulès, French, 1811–1876, 1811-1876
Graphite on paper
Drawing

View of two islands, at right. Framing lines.
Fragment
, 17th century
silk Technique: supplementary wefts in plain weave foundation

Light yellow ground has an offset repeating design of yellow-green sprigs with pink flowers and small birds.
Design for the rest of a chair or a cushion, to be executed in tapestry
Alphonse de Neuville, French, 1835 - 1885, ca. 1880
Pen, ink, watercolor, and gouache on paper
Drawing

A trophy of filled quiver and flowers, suspended from a fleur-de-lis, in scrollwork quatrefoil. Design for textile, tapestry.
Apollo in Chariot with Aurora and the Hours
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink, brush and brown watercolor washes over traces of graphite on light brown rough paper
Drawing

Apollo shown riding in chariot drawn by three horses. Aurora and the Hours accompany him. Part of Zodiac shown.
Designs for Chairs
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two chairs decorated with ornament motifs including branches and palmette and dart. The plate is signed and numbered.
Woman
Robert Frederick Blum, American, 1857–1903, 1881–1883
Pen and ink on laid paper
Drawing

Sketch of a female figure.
Pamola Peak and Mt. Katahdin from a Basin Pond, Maine
Frederic Edwin Church, American, 1826–1900, 1877 - 1881
Oil and graphite on paperboard
drawing

Landscape study showing a view of Pamola Peak (a subsidiary of Katahdin) from the eastern shore of one of the nearby Basin Ponds in Maine. The water's rippling surface stretches from the foreground to the middle distance, where the pond's heavily wooded western shoreline is visible. An evergreen forest continues through the middle distance, until the terrain rises to the exposed eastern ridge of Pamola Peak. The peak itself is darkened in shadow by heavy clouds above, which entirely obscure Katahdin's peak peak--shown in the background at right.Along the upper margin, patches of blue sky are visible beyond the clouds.
Sheet from a Sketchbook: Triumph of Silenus and Triumph of Bacchus and Ariadne
Felice Giani, Italian, 1758–1823, 1800–1802
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Upper image: Silenus standing in a chariot supported by a Maenad holding the reins of the goats.  Satyrs follow carrying a basketfull of wine.
Lower image: Bacchus and Ariadne are seated in a chariot drawn by panthers.  Satyrs follow it.
Pope Gregorio VII and Four Angels, Study after Raphael "Persons of the Papacy"; Antique Bench
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash over traces of black chalk on white laid paper
Sketchbook folio

Upper drawing of seated Pope Gregorio VII, holding book, about to write, or probably copy from another book, at which he looks. Four angels aid him, one holds inkpot, two support book, and one turns page. Lower drawing of marble bench with lion's paw feet.
Grotto in the Boboli Gardens, Florence
Unknown, Italian, ca. 1790
Brush and watercolor, white gouache, pen and black ink over graphite on off-white laid paper
Drawing

View across a meadow toward a grotto in the Boboli Gardens which features a fountain. The central portal is flanked by sculptures. At left a wall and the corridor leading to the Uffizi. Beneath it, a tree and bench with a figure. At right, a wall with a view of houses in the distance. A group of figures approaches at extreme right.
Le Salon du Jardin de Silvie à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on a single sheet, one above the other, depicting the gardens at Chantilly. Views of parterre planting, framed by trellis/ lattice pavilions and trees. Figures (courtiers) along the paths. The plates are titled.
Wine glass
, ca. 1880
Glass

Slightly domed foot with baluster-shaped stem supporst straight-flaring bowl. Etched decoration, heightened by engraving. Floral wreath around top, and monogram W.C.S. (order (?) ) on side.
The Introduction
Nicolas Colibert, French, 1750 - 1806, 1785
Stipple and line engraving in brown ink on paper
Print

A boy presenting two other boys to a girl. In the middle background left a boy with buckets and a girl with a pitcher.
Design for a Confessional
Richard de Lalonde, French, active 1780–96, late 18th century
Etching on off-white laid paper
Print

Design for a confessional with commandment tablets at top. The confessional is decorated with ornament motifs including rosettes, fluting, lamb tongue, and garland. The plate is signed and numbered.
Design for Clock
Lefebvre Manufactory, Tournai, 1800–1825
Graphite, pen and black ink, brush and yellow, brown watercolor on white laid paper
Drawing

Base supported by lion feet, decorated by festoons of olive branches caught by ribbon. On base, at left, a candlestick. Clock case, at center, decorated with griffins flanking a palmette. A rose on top of dial. At right, Cupid, holding a torch, points to an inscription beneath rose: Hommages a la / plas belle

Inscriptions:
Below left: pen and brown ink: ena. No. 112

Below center: Cooper Union stamp #457D
Sidewall
, ca. 1700
Leather, stamped, embossed, silvered, varnished

Portion of a slightly larger panel, in varnished silver, blue and green. Cartouche framework with scrollwork, fruit, flowers, trellis work and confronted birds.
A Sepulchral Monument of Henry Cardinal York (1725-1807) and Charles Edward Stuart, the "Young Pretender" (1720-1788)
, ca. 1818
Pencil, pen, wash, Chinese ink
Drawing

The two half-figures are shown as standing behind the balustrade of a loggia. A canopy with the coat-of-arms of the Stuarts from the background. On top of a sepulchral chamber shown before the balustrade are: a young man in the attire of Hercules seated beside a cinerary receptacle upon which the insignia of a bishop and a helmet and sword lie on a cushion. The architectural setting is that of a lateral chapel in a church with framing lines.
Study, Trees, Santa Barbara, California
Samuel Colman, American, 1832–1920, February 3, 1888
Graphite, crayon on cream paper
Drawing

Two sycamores without leaves are shown at the bank of a stream, the bed of which is shown in the foreground. It is full of boulders. Caption: "Sycamores . S. Barbara", and the date at the bottom.
Design for a Woven Fabric, Fragment
, 1815–1840
Brush and white, yellow, and blue gouache on oily tracing paper
Drawing

Three big-sized and seven small-sized boughs are shown. The big-sized form a vertical row, the left one is obliquely shown directed toward right, the central one is horizontally waved, the right one hangs obliquely towards left.
Seated Female Nude
Daniel Huntington, American, 1816–1906, 1870–80
Graphite on off-white wove paper
Drawing

Nude female figure, seated in a chair, facing frontally and turned slightly to the left. Her head rests on her left hand, with her elbow resting on a surface, possibly a table. Right hand on arm of chair, and ankles crossed.
Chatelaine Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Within a double-lined frame, a design for a chatelaine, with medallions, chains with a seal, egg-shaped charm and a round watchcase decorated with birds, flowers, and bands. The upper section of the chatelaine is decorated with a framed cartouche featuring a trophy of musical instruments and ornamented with a hanging garland of flowers, surrounded by fleurons, ‘rocaille' scrolls, acanthus leaves, bows, shells, and a scale pattern, The three hanging medallions feature flowers, a bird, and a dog, each framed by two cornucopias. The plate is signed, numbered and dated.
Fragment
, 13th century
silk Technique: plain weave

Plaid of dark blue, tan and red.
Theatre Design: Streetscape
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

View of a street. At left, a building with two columns and attic sculptures. At center, a tree grows from a rear courtyard.
Altar Mensa for the Capella Paolina (Borghese Chapel), Santa Maria Maggiore, Rome, Italy
Antonio Asprucci, Italian, 1723 – 1808, ca. 1760
Pen and black ink, brush and watercolor over black chalk on paper
Drawing

Design for an altar mensa intended to be executed in colored marbles and gilded ornaments.  At the lateral pilasters is the coat of arms of a Prince Borghese, united with that of his wife, a Colonna.  The front of the sarcophagus is supported by balusters, the upper parts of which are in front of the sarcophagus.  Above the balusters, a lion mask with handles.  In the middle is an oval of palm branches with a cross.  The alternative suggestions refer only to different coloring.  The letter "M" is written in the low head piece, "G" in the entablature of the mensa.  Three steps.  The altar stands in front of the central part of the base of a kind of retable, executed in marble and gilded parts. The retable is marked several times "O," as it is twice in the space of the wall, besides one "N."  Only the lower part of the retable is shown, having a central part of marble and two columns on either side.
Candlestick
, ca. 1830
Enameled tôle

Black field, with plain gold banding of shaft and conventional foliage design around upper surface of circular base.
El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 21, 28, or 29, 1868
Oil and graphite on paper
Drawing

Landscape study showing a view of a canyon known to Church as the El Yemen Valley, encountered during his expedition to Petra. Located in the valleys of the Nahal Hatira and Nahal Yemin in the present-day Makhteshim-Ein Yahav Nature Reserve in southern Israel, the desolate canyon is made up of a kind of chalky yellow-brown stone. Here, the foreground is sketchily rendered only in graphite before transitioning to oil roughly half way up. The canyon's converging slopes meet at center to form a narrow floor. Cliffs in the background and at right consist of visible bands of layered rock strata. Above, the sky is gentle gradient from yellow to blue.
Interior elevation of a building
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink on off-white laid paper, lined
Drawing

Interior elevation of a building.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of a central band with flower ornaments separated by lines and between chain borders; picot edges.
Salon de Treillage en face de la decharge du Parterre des grenoüilles
Adam Perelle, French, 1638 – 1695, 1670–95
Etching laid paper
Print

Two plates printed on a single sheet. Both proofs are before lettering with their titles inscribed in ink below each image, within the plates. Upper plate: a round fountain with a jet of water in the center of a trellis garden room, with a large jet of water. The trellis is decorated with panels, pilasters, a temple façade, and finials, with trees visible beyond. Several figures walk and sit around the fountain. Lower plate: a round fountain with a jet of water in the center of a trellis garden room. The trellis features a large arched gate in the center and niches on either side, with ornamental panels, pilasters, and vase finials. Several figures stand around the fountain and sit on benches in the niches. Trees are visible in the background.
Les plaisirs de l'Isle enchantée
, 1664
Black ink on rolled paper
Print

Horizontal rectangle:  In the foreground, a banner, and above a frieze of the back of an audience.  On stage, a procession of servants carrying banquet platters on their heads.  A banquet table with seated guests in the background.
Trimming
, early 19th century
White, black, and colored silks in voided velvet weave.

Two shields, each under a crown, one displaying arms with motto, "Vis mea est lex et rex." (Trans. "My strength is law and king.")  The other, a spread eagle, in black, yellow, and tan on a white ground.
PLAN RELEVÉ DU CHATEAU DE MARLY
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Plan view of the chateau of Marly within its surrounding gardens with formal planting, parterre, basins, fountains, jets of water, trees, and avenues. The details labelled, numbered, and lettered with a key above. The plate is titled below. A scale in the upper right.
Tea Strainer
, late 19th–early 20th century
silver, ebony
tea strainer

Circular bowl with perforations in shape of a six-pointed star. Flaring edge with raised cord rim. Ebony handle.
Title Page
François Roumier, French, 16..–1748, 1740-1748
Etching and engraving on laid paper
Bound print

Page printed with two narrow plates. The left plate is a title page with the text printed within a frame of rocaille ornamentation, of scrolling acanthus leaves, cartouches. The plate on the right is a design for a carved trophy set within a frame with acanthus leaves, scrolls, and shells at the top and the bottom. The trophy features Christian attributes, including a sacrificial lamb, a sword, a chalice, a putto, and a cartouche with a scene of Abraham about to sacrifice his son, Isaac, with an angel flying in to intervene. Neither plate is signed, but the right plate is numbered.
Two designs for andirons
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red-brown, green watercolor, black wash, graphite, on cream laid paper
Drawing

Above, a lion stands in profile, front right paw on a ball. Pilasters decorated with a vertical plant design, a ball atop. Front panel decorated with oak leaf design.

Below, a railing consisting of ovals with floral centers connected by rosettes. Protruding pilasters with decorated arrows intertwined with wreaths, large ball atop left pilaster.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rococo cartouche design and title page with the title and address lettered below the design. The cartouche is made up of two cornucopias of fruit, foliage, jewels, and coins, with festoons of foliage and fruit, c-scrolls, scrolling acanthus leaf motifs, a central gong with chains. The plate is numbered and lettered.
Galerie métallique des grands hommes français (Great Men of France)
Joseph-François Domard, French, 1792 - 1858, 1817
Cast bronze
Medal

Bust of Denis Diderot (October -1784).
LE MAITRE DE CORS DE CHASSE
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 10 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two figures of monkeys dressed in human hunting costume, each kneeling on the ground. Monkey at left wears a feathered cap and faces to the right. He supports with each of his hands the body of a circular musical instrument (horn). Monkey at right blows into the horn.
Button
, 1801–50
Copper, silver plated

Circular, convex button with ornament showing shield with heraldic marking, lion supporters, a ribbon below and a crown above. Brass back and shank. On reverse: "Superieur France"
St. GERMAIN EN LAYE
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the palace of St. Germain en Laye with squares of grass, a road, and pathways in the foreground. Buildings in the background. Figures, horseman, and horse-drawn carriages throughout. The plate is titled with a short history of the palace.
Saucière. Moutardier.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a metal sauce boat and a mustard pot. The sauce boat on the left features a scrolling handle with a garland of flowers, and a gadrooned bowl. Above the sauce boat is another shallow vessel with a wave band and gadrooning. The mustard pot on the right has an s-curve handle and features such decorative elements as gadrooning, floral garland, spiral fluting, bead course, and swirling acanthus leaves. The plate is signed and numbered.
Two Designs for Woven Shawls
, 1820–50
Brush and gouache on brown oiled translucent paper mounted on dark brown paper
Drawing

Two designs for woven shawls. At left, a design featuring paisley motifs, also referred to as Persian cones. Each cone or teardrop shape is bordered by yellow dotted lines and contains a fantastic plant inside. Dotted outlines of flower boughs in white, yellow, and red appear in the intervals between the paisley motifs. At right, boughs form a kind of escutcheon, where fantastic blossoms rise. Like the paisley motifs on the left, the right blossoms are outlined with yellow dotted lines.
Textile
, possibly 13th century
silk, metallic Technique: supplementary warp pile (velvet) in plain weave foundation, with continuous supplementary weft patterning Label: Silk cut velvet with metallic thread patterning in a plain weave foundation

Deep red velvet with offset repeat pattern of gold disks. The foundation is plain weave formed by a red silk warp and tan silk weft; the supplementary warp pile is red silk. The velvet pile is voided in the areas where the coin dots appear, and supplementary gold wefts are floated in pairs to the surface in these areas, bound in twill with the secondary ivory warp.
Sidewall
, 1855–65
Block-printed paper

a) is a small fragment; b) gives one and one-half widths of drop-repeating design; three different enframed architectural scenes of Italianate character, with green sky, against plain ground divided into larger rectangles by bands of scrolled framework. Printed in browns, white and green on neutral light brown ground.
Design for a Woven Fabric
, 1815–1830
Brush and gouache on oily tracing paper
Drawing

Lattice lozenges form a vertical row, each bottom corner being covered by the tops of the next lower lozenge. Fan motifs grow from the top corners and in the inner corners formed by two lozenges. Leaves hang downards from the right lateral corners of the lozenges.
A Bowl with Flowers
, 1700–1750
Pen and ink, brush and bistre, on paper
Drawing

In low, wide-brimmed, footed bowl flower blossoms are arranged in a triangular mass.
Coupe et Décoration du Sallon pour le Bâtiment Ionique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Cross section of a living room decorated in the Ionic order with classicizing motifs. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Saint Felix of Cantalupe
, 1780–1810
Pen and ink on paper
Drawing

Shown walking with his sack toward left. Framing ink line.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

Part of a set of Italian Minchiate playing cards.
Developpement d'une Fenêtre Ionique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design and profile of a window decorated according to the Doric order and with a shell motif in the pediment. The plate is signed and numbered.
Anatomical Sketches of Heads and Facial Expressions
Frederic Edwin Church, American, 1826–1900, 1877–80
Graphite on gray-green wove paper; verso: graphite
Drawing

Figure sketches showing twenty-four anatomical views of the human head, neck, eyes, and sternum. Five frontally viewed heads are shown along the upper margin: the three at left belonging to a deceased individual with emaciated features, while the two at upper right represent the ostensibly "Roman" and "Greek" type of heads/faces (based on pseudo-scientific and misleading phrenological analyses popular in the 19th century). Below these, six other heads are included: three in left profile and three viewed frontally. At far right, two sketches of eyes are visible: the uppermost one representing an "eye of health," while the lower one, an "eye of sickness." At center, five other representations of heads are included--two looking upward (one viewed frontally, the other in profile), while at lower left, a diagram of the human sternum is articulated in some detail. Finally, at lower right, two anatomical drawings of the musculature and skeletal structure of the human neck are included.

Verso: Figures sketches showing eight anatomical views of the human head, torso, and leg. Along the upper margin, three drawings show (from left to right) a twisted head and neck from an oblique angle, the torso, shoulders, and head of a figure with their head leaning backwards and neck arched upwards, and, at upper right, the head and shoulders of a male figure shown from above. At center, the upper body, left arm, and part of the neck and chin of lying or deceased individual are clearly delineated. Below it, the outline of a lower leg and foot are shown beside an isolated sketch of a nose. At lower right, a view of an elderly man in left profile is shown above the outline of a woman's head, also in left profile. The man's face has several wrinkles.
Design for ceiling decoration
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Above: the decoration consists of a row of standing leaves, and a row of palmettes of oak leaves and two acorns in the front. Below, the left part is decorated with standing leaves, above which raises a stem with a bead and a row of standing leaves. At right: a stem with a blossom raises from the interval between the scrolls of neighboring leaf palmettes. The bands are slightly colored, the background dark colored.
Textile
, 19th century
silk Technique: plain compound twill

Navy ground with surface divided into octagonal areas with squares intervening. Both the squares and the octagons contain stylized floral forms. The entire pattern is composed of extra wefts of white, tan, gold, and chartreuse silks.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

View of a quarter of a vaulted ceiling, the border decorated with elaborate cartouches in Rococo style, the largest cartouche at the lower left corner blank within. At left edge, within cartouche, a framed view of architectural elements including stairs and walls. At right edge, within cartouche, a similar scene with trees and a fountain.
Building and Trees in Mexico
Frederic Edwin Church, American, 1826–1900, March 1892 or 1893
Graphite on beige wove paper
Drawing

Landscape sketch showing a view of a distant building and trees in Mexico. Flat terrain extends from the foreground and into the background, while two dark figures or animals are visible in the middle distance at center left. Along the horizon at left, a long, rectangular building with white walls is visible, while at center, a group of trees or other vegetation form a billowing mass. Flat horizon stretches across the scene.