biglam/cooper-hewitt-alt-text huggingface dataset:
Project for the “Machine” for the Exposition of the Monstrance
, 1725–1775
Pencil, pen, ink, paper
Drawing

Vertical rectangle. The "stage" has the general form of a chapel, with twisted columns and curtain drawn aside. Inside a baldachino with two angels on top, support a scroll with REX REGVM. Upon clouds rests a throne, upon whose seat a crown lying upon crossed swords. Clouds with angels and cherubim surround it, referring the host in the monstrance standing above a bird with spread wings on top of the clouds.
Sketch of Julia Wells for "My Cousin in Blue"
Daniel Huntington, American, 1816–1906, May 8, 1878
Graphite on grey paper
Drawing

Woman standing, turned toward the left. Her left hand repeated, upper right, and right hand, upper left. Verso: Man seated; his left arm and hand repeated, left.
Carving
, 18th century
wood, painted

floral
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 9
Figure Sketches around Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-25, 1869
Graphite on tan laid paper
drawing

Figure sketches showing thirteen partial and complete views of individuals around Athens, Greece. At upper right, a bearded man wearing loose clothing is shown frontally, in full. Throughout the upper portion, the same figure is shown from different angles, in various stages of completion. At lower center, a boy is shown frontally with sketches of a woman and two children in lower left corner.
Fragment
, 17th century
silk, linen Technique: plain weave with supplementary weft patterning

Textile fragment with a tone-on-tone diamond lattice pattern in the ground; each diamond is filled with a colored silk spot motif. In blue, green, yellow, red and pink silk on natural colored linen ground. Blue and yellow zigzag border on one side.
Applique
, ca. 1780
wood covered with gesso, painted and gilded - iron pricket

straight-sided [applique]/single bracket with small ornamentation of foliage
[originally one of a pair]
Children; Verso: Children and Bacchantes (?)
Jacob de Wit, 1695 – 1754, 1725–1754
Charcoal, pen and Chinese ink on paper; Verso: brush and bistre wash
Drawing

Five children, only the uppermost parts are shown of two of them. Verso: at left a sitting child, and a standing one. Center: sketch for a painting. Two persons are shown dancing. Other figures are indistinct. At right is a child carrying a stick with a cross-like head.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring putti, a female figure, herms, snakes, baskets of flowers, garlands of grapes and vine leaves, fleurons, drapery, birds, a vase, rosettes, flowers and scrolling acanthus leaf motifs. The plate is numbered and signed.
Title Page and Porte-Cochère (Doors) Design
Nicolas Guérard, French, ca.1648 – 1719, ca. 1715
Etching on laid paper
Print

Title page and design for a set of double doors (porte cochères) with an arched overdoor panel with oval window decorated with carved paneling featuring, palm leaves, shells, flowers, c-scrolls, mascaron (mask), scrolling leaves (rinceaux), strapwork, and fleurons. The plate is numbered and titled. A scale below the design.
Project for an altar
, mid- 18th century
Pencil, pen, ink, brush, sepia and grey water color on light brown paper.
Drawing

Vertical composition of an altar. The front of the mensa is not decorated. The image represents a writing Dominican nun having a vision. Below the image there are two angels, raising a burning heart. Six figures represent different themes. In niches "Faith" stands on the left and "Love" on the right. "Prudence" and "Temperance" sit above on the center pediment. Beside the pediment wall stands "Justice" on the left and "Force" on the right. Above the pediment there is a representation of the holy triangle in a glory. This is the central panel of a pediment wall with a circle above with two angels in the center and two small angels supporting the cross on top.
Tile
, 16th century
Glazed moulded earthenware

White, yellow, green, blue and brown glazes, in low relief. Gepmetrical design.
Designs for Rocaille Motifs
I. F. Saur, German, active 18th century, mid- 18th century
Etching on off-white paper
Print

Designs for rocaille motifs of scrolls, rinceaux, and garlands. The plate is signed and numbered.
Ornamental Vignette
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Etching on laid paper
Print

Third plate from a series of eight fantastical ornamental vignettes. In the center, foliage, fruit, a shell, and flowers intertwined and in front of an obelisk shaped object on a plinth. The ground is suggested with some shading. The plate is signed.
Tea Scoop with Shell Form Terminal
, 1844
silver
scoop

Bell-shaped, notch-sided bowl. Short stem with stamped, fluted sides and stamped shell terminal.
The Catskill Mountains, Catskill, New York
Frederic Edwin Church, American, 1826–1900, 1844–46
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the outline of  the Catskill Mountains with an elevated rise shown in the foreground, likely viewed from Catskill, New York. 

Verso: Landscape sketch from Catskill, New York, showing the sun, or possibly the moon, above the contour of the Catskills and illuminating numerous puffy clouds in the sky around it.
Ornamented Gueridon Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for gueridons featuring ornamental motifs such as acanthus leaves, gadrooning, shells, rosettes, scrolls, masks, meanders, and egg and dart patterns. The plate is numbered but not signed.
Galerie métallique des grands hommes français (Great Men of France)
Raymond Gayrard, French, 1777 - 1858, 1817
Cast bronze
Medal

Bust of Jacques Auguste de Thou (1553-1617).
Textile
, ca. 1805
cotton on linen foundation Technique: tambour work on plain weave

Band of white linen muslin with a horizontal pattern on two borders of trailing wisteria vine and blossoms worked in tambour stitch in green, yellow and purple thread.
Original Drawing, Cahier VIII, plate 1
Richard de Lalonde, French, active 1780–96, 1780–96
Pen and black ink, brush and wash on greenish laid paper
Drawing

Side view of canopied bed with draping at wall decorated with female busts.
Elévation d'une Face d'Apartements
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of an apartment wall. The plate is not signed or numbered.
Frame
Giuseppe Valadier, Italian, 1762–1839, ca. 1796
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The inner frame has a cresting; in the center is a triangle with a vase crowned with flames, beside acroteria. The vase is encircled by a serpent, in the panel of the outer frame. Below, is a variation of the motif in 1938-88-1906; two trees, laterally. Dark background.
Veuë et Perspective de Luxembourg du costé du Jardin, a present appelé Palais d’Orleans.
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the Orleans Palace (Luxembourg) in Paris from the garden, with the palace in the background flanked by other buildings, and garden with parterre, fountain, and figures in the foreground. The plate is titled and signed.
Border
, 1850–90
Block-printed paper

Baguette motif with vivid blue ground. Printed in red, greys and blue.
Four Columns to Italian Renaissance Writers
Felice Giani, Italian, 1758–1823, 1775–1825
Pen and brown ink, brush and brown wash, traces of graphite on light brown laid paper
Drawing

From left: The text "Ariosto" with two masks and a trophy; the text "Goldoni" with books and masks; the text "Dante" with a lion's head and lyre; the text "Alfieri" with a face and armor.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a female figure wearing a hat.
The Judgement of Solomon; The Flaying of Marsyas
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and and brown wash over traces of graphite on off white laid paper
Drawing

The judgement has graphite border lines on top and at right. The Marsyas on all sides. Diving ink line between representations.
Tile
, ca. 1780
Transfer-printed, green-enamelled white pottery

Vertical rectangle. White glazed ground; upright oval black transfer-printed frame enclosing green area against which, in black on white, is a figure of Orpheus or Apollo holding a lyre.
Study for a dancing woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1893–1895
Graphite on wove paper
Drawing

Sketch of a female figure lifting a child.
Cornice Design with Profile
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Design for the cornice of an apartment with, from left to right, ribbon twist, fluting, bead and bar, lamb tongue, row of rosettes surrounded by stylized acanthus leaves, and lamb tongue decoration. The profile of the cornice ornamentation is indicated at the top edge of the design motifs. The plate is signed and numbered.
Stage Design, Gothic Room
Romolo Achille Liverani, Italian, 1809 - 1872, 1832
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Gothic hall richly decorated with three windows, window hangings, sculptures, paintings, and ornamented ceiling.
Chinoiserie Vignette with Singe
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on paper
Print

Chinoiserie Vignette with Singe.
Autumn Foliage
Frederic Edwin Church, American, 1826–1900, 1865–74
Brush and oil on paperboard
Drawing

Landscape sketch showing view of autumn foliage on a wooded hillside, possibly in Vermont. A dark, seemingly backlit tree at center serves as focus. Muddled, sloped foreground descends gently from left to right. Line of tall trees in fall colors stands in middle distance. Dark blue sky defines background.
Border
, 1815–30
Block-printed and flocked on handmade paper

Horizontal rectangle. Band of roses, tulips and morning glories in naturalistic colors against field of dark red flock; across top, leaf molding and bead and reel, across bottom, cable molding, in yellows.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of red and white open flowers between narrow borders decorated with triangles of red on a brown ground; picot edges.
Shawl
, 1850–1900
piña (pineapple) fiber, cotton, silk Technique: embroidered

Long rectangular whitework shawl with a bowl of flowers on each end surrounded a vine and flower border.
Fragment
, 17th century
silk, metallic thread Technique: supplementary wefts on a silver-faced fabric

Fragment with one curved edge. Pattern of green and white flowers arranged in rows facing in alternate directions.
Textile swatch
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, 1910–20
linen Technique: plain weave

Small piece of woven linen in dark yellow.
Jug
Christopher Dresser, Scottish, 1834–1904, ca. 1872
Terracotta

Angular pitcher form with three horizontal bands at the base, center--the jug's widest part--and the top third; angular handle.
Samples
, 17th–18th century
silk embroidery on linen foundation Technique: counted thread embroidery on plain weave

Scrolling leafy vine in yellow and yellow-green on red ground.
Fragments
, 18th century
silk, metallic thread Technique: woven

Multicolored fragment in a continuous symmetrical pattern has a fan-like architectural motif and floral pendant suspended above drapery swags heavy with hanging flowers and leaves. Below is a pagoda-like architectural element with symmetrical parasols.
Vase
Louis Comfort Tiffany, American, 1848–1933, 1918
Favrile glass

Ovoidal vase with rounded shoulder and everted lip; decorated with abstract floral pattern in dark red-black on gold background.
LA CAUSE BADINE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a scene of children dressed as actors surrounding a garden fountain. They are surrounded by motifs including terms, branches, scrolls, batwings, drapery, and a cartouche. The plate is signed.
Table and Chair for Mrs. Allen's Boudoir, 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 from left to right shows elevation views of table (front and side); elevation views of chair (side, facing left; front; back). Cloth runner, vase of flowers and book sit atop table. Lower part, in graphite only, shows plan of table, plan of chair and bench at right.
Portrait of Cardinal Mazarin
Robert Nanteuil, French, 1623 – 1678, 1655
Engraving on paper
Print

In an oval enframement is a bust portrait of Cardinal Mazarin (1602-1661). He is shown facing half right; he wears one tassel under his collar, and a satin cape.
Plate
, 19th century
Tin-glazed earthenware

Octagonal scalloped marly, decorated with alternating large and small sprays of foliage. In center, crossed crosier, sword and spade with fleur-de-lis at point of crossing; above, royal crown; below, banderole inscribed: Viva la nation. Blue, yellow and violet in center; green and red on marly.
Fringe
, 17th century
silk, metallic thread (gold strips wound on a silk core) Technique: soumak weave

Green, pink, white and metallic gold fringe with a soumak heading in metallic gold, pink and green warp threads. At the top of the skirt, a trellis design in white and green threads.
The Little Lagoon
James McNeill Whistler, American, 1834–1903, 1880
Etching and drypoint on paper
Print

View of the lagoon, with a gondola in the foreground and several others in the middle ground, beside a two-masted schooner. Skyline of Venice suggested in distance.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1882
paper and cotton

Small notebook with handwritten formulas for dyestuffs to be used on printed textiles. Contains 78 samples of printed fabrics.
Sketch for a reception at Palazzo Surian
Francesco Guardi, Italian, 1712 - 1793, mid- 18th–late 18th century
pen and ink, brush and wash on laid paper
drawing

Horizontal rectangle. A man holding a tricorne stands in an arched doorway, surmounted by a balustrade and escutcheon, and greets a group of six. On the verso is a slight pen sketch of two arm-chairs and a settee, also by Guardi. This and two small sheets in the Correr Library, Venice (see Pallucchini, No. 46 and 47a), which show the water and a gondola in front, are preliminary sketches for the signed painting in the Frick Collection, entitled, ''The Cannaregio with a Reception at the Entrance of Palazzo Surian.'' It is difficult to decide the order in which the three sketches were made. The figure in the doorway in the Cooper Union drawing corresponds exactly to that in the picture; in the other drawings this figure is different. All three show the stout gentleman with his back turned in the left foreground, as in the picture; but in the remaining figures the Correr drawings, especially that shown in Pallucchini 46, are nearer to the picture than the Cooper Union drawing. The architecture here, and in Pallucchini 46 (so far as it goes), corresponds to that in the picture and to the Palazzo Surian today, while that in Pallucchini 47a has evidently been extended above from memory, and is topographically incorrect. The man in the doorway, and the stout man with back turned, occur in several pictures of the Piazza San Marco (i.e., Hickox Collection, New York, etc.)
Fragment
, 16th century
silk Technique: 5-harness satin damask

Dark crimson damask with small close-set allover design of bars and springs.
Fragment
, 18th century
cotton Technique: block printed on plain weave

Rectangular fragment of cream-colored cotton in a large-scale floral pattern. Original colors were red, blue, violet and brown, but a large section is primarily brown with a small section on the left-hand side showing original colors.
Sketch of Figure on a Cross
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Christ standing on a cross, arms outstretched, looking down, as if from a cloud. Crowds below.
Coverlet fragment
, 19th century
wool, cotton Technique: plain weave with supplementary weft patterning (overshot)

Fragment of traditional woven coverlet, with undyed cotton ground and bands of supplementary weft patterns in dark blue, sage green, and rust-red.
Scribner's
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on illustration board
Drawing

Circular area enclosed in border of stylized fruit and leaves. Surmounted by ribbon bearing the firm name: "Scribner's"
Page Two from "Premier Livre De Differents morceaux A l'Usage de tous ceux qui s'appliquent aux beuax Arts Inventé Par G.M. Oppenort Architecte du Roy Et Gravé par Huquier," Serie A (Moyen Oppenord)
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

In a landscape a nymph with a shield, a monkey, a satyr, and two wolves arranged in an artful arrangement with vases, cartouches, and implements. Inscribed, lower left: "Oppenort inv." lower right: "Huquier sculp. et ex"; center: "Avec privilege du Roy"; upper left: "2"; upper right "A".
Fragment
, late 18th century
linen Technique: bobbin lace (Mechlin style with Point de Paris ground)

Small flowering branches and floral sprays.
Trimming
, 17th century
silk Technique: woven

Design of yellow ornamental lozenges.
Allegorical Figure Depicting Putti as "Asia" and "Africa"
Fürstenberg Porcelain Manufactory, German, established 1747, late 18th–mid- 19th century
hard paste porcelain, vitreous enamel, gold
figure

This piece shows Asia and Africa as putti.
Study of the Closed Hands of a Woman
, early 18th century
Red crayon on blue-grey paper
Drawing

Vertical rectangle. A pair of hands clasped together showing part of a sleeve.
Calai e Zeti condotti da Borea et Oritia, from Vessels of the Wedding Celebration of Cosimo de' Medici in 1608, plate 5
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

Galley formed of and propelled by fantastic creatures, a tree in place of mast, figures of Calai and Zeti aft, and of Boreas and Oreithyia seated on sterncastle. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Cartouche decoré
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white laid paper
Print

Rocaille cartouche in front of a pyramid and a statue of the king. In front of the cartouche are attributes of war, including shield, body armor, helmets, flags, axes, and fasces. The plate is signed and numbered.
Textile
, 19th century
silk, metal Technique: compound satin weave

White and gold. White satin ground. Two wefts: gold and white. Design of rose sprays with two full roses and four rosebuds and leaves, created by floats of white and gold wefts.
Puppet
, late 19th century
Painted papier-mâché, woven cloth

Peaked "sugarloaf" hat, spotted with red brim. Shirt of cotton printed with a black foliate design against a red field, with white reserve. Blue ruff.
Button
, late 18th century
Brass

1931-59-220-b: Two flat brass buttons ornamented with engraving: ...
Perspective and Plan View of a Spiral Staircase that Turns to the Left
Adolph Bordeaux, French, active 1880–1890, January 2, 1883
Graphite, pen and black ink, brush and grey watercolor on cream laid paper
Drawing

Plan and elevation of spiral staircases. Details on lower portion of the design.
Sidewall
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1907–1908
Machine-printed paper

Art Nouveau inspired design with stylized roses and trees. Printed in red, greens, yellow and blue on dark blue background.
Goblet Celebrating the Marriage of Coenraad Jan van Zuylen van Nievelt (1716–67) and Theodora Wilhelmina van Lynden (1727–96)
, 1725–1750
lead glass
drinking glass

Large wine glass with a bell-shaped bowl. The stem consists of two similar parts: a large knob above a smaller knob with a narrowing side to it. In the first knob two rows of air bubbles, in the second one row of elongated air bubbles and in the third know one large bubble. Conical foot.

On the bowl a wheel engraving of the coat of arms of Van Zuylen van Nievelt (three columns) and Van Lynden (a cross), both oval shaped. The coats of arms are held by two lions. Above the crest a crown with five florets (fleurons). Beneath the crown a stylized shell. To the left side of the crown a palm tree branch, to the right the branch of an olive tree. Underneath a banderole with decorations of acanthus leaves, 'S'-motifs and flowers. Underneath in the middle, between the two crests a face is engraved.
Design for Dining Table of Mahogany on Column-Like Supports
A.N. Davenport Co., 1900–05
Graphite and yellow color pencil on thin, cream paper
Drawing

Round molded top with a dividing stretcher at center is raised on four reeded column-like supports sitting on molded rectangular basae terminating in four splayed legs with brass feet on casters indicated in yellow color pencil.
Figure of Europe
Julius Goltzius, Dutch, died ca. 1595, late 17th–early 18th century
fruitwood
Panel

Panel in gadrooned frame. Female figure, crowned, holding sceptre and orb, seated under laurel wreath in chariot, drawn by a pair of horses; in background, grazing cattle and a burning castle. At top right, labeled "Europa".
Design for Curio Cabinet in Rosewood
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Rectangular table with glass-encased top, raised on 4 straight, slightly tapering legs.
Bodice
, 18th century
Trapunto quilted cotton plain weave lined with linen plain weave. Outline stitching is linen; stuffing is cotton.

Bodice with outline design shaped to the pieces of the vest. Stufing is both blue and white cotton.
Nouveau Livre de Cartouches à l’Usage de différens Artistes
Borch, active mid 18th century, 1729–68
Album

Album with two series of cartouche designs featuring arms, and fantastical creatures. Both series share the same name with designs by Borch, published by either Marguerite Caillou Chereau or Genevieve-Marguerite Chereau (both known as Veuve Chereau). The plates are signed.
No. 98
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, faceted cut and polished
White wine decanter with stopper

Mouth-blown crystal decanter with stopper, elaborately facet-cut and polished, with precisely planned bubble in the stem.
Textile
, ca. 1800
cotton Technique: block printed on plain weave

Scattered flowers in deep pink, blue, yellow and white on a black ground closely covered with deep green flowers and leaves.
Border
, early 18th century
linen Technique: bobbin made continuous tape with bars added

Wide border of branching rose sprays connnected by bars with picotées.
Tile
Grueby Faience Company, Revere, Massachusetts, 1895–1908, ca. 1902
Glazed earthenware

Gray-white earthenware body with press-molded design of rabbit crouching in grass. Light blue light and dark green, and pale yellow-green mat glazes defined by raised partitions.
Sketchbook Page: Egyptian Figure, The High Priest
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Recto: Sketch of an Ancient Egyptian figure, labeled the high priest, dressed in leopard skin.
Verso: Sketch of a female Ancient Egyptian figure, with long curls, labeled the hand maid.
Fragment
, 17th–18th century
linen Technique: early tape lace of pre-made tape with needle work fillings

Fragment of a wide band with a scrolling, overlapping vine and large flowers.
Sampler
, 1815
silk embroidery on cotton foundation Technique: embroidered in stem, satin and knot stitches on plain weave foundation

Letters and motifs, all in red.
Textile fragment
, 1800–1833
cotton Technique: printed on plain weave

Fragment of cotton printed in romantic scenes: four episodes which seem to concern the fate of a woman, scenes in a convent, palace, etc. Pseudo Asian style dress. Signed F. Cholet sculpt.