biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Ornamental Arabesque Motifs
Etienne de Lavallée-Poussin, French, 1735–1802, 1770
Pen and brown ink with ink wash, graphite on paper
drawing

Upper left, a vertical arabesque motif which includes a winged figure terminating in vine tendrills, and above a vase flanked by herms. Lower left, a corner motif of a ceiling cove with two sirens flanking a disc supporting a circular panel, and below, another siren, from which garlands are suspended, and clutching the tails of the sirens above. Right, a vertical panel with a standing draped classical figure between vases, whose headdress is made up of a series of arabesques, a brazier, flanking griffins, and a winged half-figure with a bird on its head.
Fragment
, ca. 1830
Brass

Segment of an ornament in the form of a floral swag.
Rocaille Fountain Design
François Boucher, French, 1703–1770, 1736
Engraving on laid paper
Bound print

Folio 5, plate 5 of a series of 7. Design for a fountain. Rocaille fountain design with two tritons and a nymph reclining on a grotesque face of a sea monster. The figures support a shell, upon which are two reclining putti. The uppermost putti is stretched over a large open vase, from which the water pours. Surrounding garden details.
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 5
The Camellia
, 1890–1900
Intaglio print
Sidewall

Full width printed in four colors: blue, violet, yellow and neutral red, with vine pattern composed of roses, tube-roses, lilac, forget-me-not and camellias, with acanthus and other leaves. Color register marks on right margin; on left margin: "The Camellia" / Sanitary and Washable.
Rocks at the Coast at Half Tide, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 2, 1851
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of an outcropping of rocks along the coast of Canada's Grand Manan Island at half tide. Situated in the foreground across rippling ocean water, the rocks are quite angular and cubic in form, with one pinnacle at left and a taller peak at right. The lower half of the outcropped is blanketed in seaweed. In the background, other similar rocky pinnacles at visible at right, while at left, hazy clouds hang over a flat horizon.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

View of a quarter of a vaulted ceiling, the border decorated with ornamental cartouches in Rococo style, the largest cartouche at lower left, with a vase of flowers at its base. Along left edge, two winged putti sit beneath a canopy of flowers. Within a cartouche, a partial view of architectural structure at left, a palm at right. Along right edge, view of a curving exterior stair with trees in background.
Designs for Andirons, Oval Medallions, and an Incense Burner
Henri Sallembier, French, ca. 1753 - 1820, 1777–78
Etching on paper
Print

Designs for two andirons (firedogs), two oval medallions (depicting a landscape on the left and a portrait of a woman on the right), and a central decorative incense burner with smoke, featuring neoclassical motifs including a fluted column, birds, putti, fruit, wave frieze, cartouches, flowers, vases, scrolling leaves (rinceaux), fleurons, foliate branches, and rosettes. The plate is numbered. The plate is a duplicate to plate 48 from the 8th book (1921-6-482-48)
Border
, ca. 1820
Block-printed on handmade paper

Horizontal rectangle consisting of four pieces of paper. Green and white, with outlines in burnt umber. Along bottom, interlacing lines forming ellipses; pedestal shape in center. Above, three symmetrical groups of leaves on striped ground.
Designs for Decorating Tobacco Boxes
Viriclix, active 18th century, 1751-1769
Etching on laid paper
Print

Three designs for the faces of tobacco boxes featuring scenes of the hunt. The plate is signed.
Studies of Standing Woman for "The Republican Court" (Lady Washington's Reception Day)
Daniel Huntington, American, 1816–1906, 1860
Graphite, white chalk on grey wove paper
Drawing

Studies of a standing woman facing away, slightly towards the left. Full study with drapery, left center. Upper right, nude study of head and torso. Additional sketch of figure, lower right.
Cup and Saucer
Manufacture de Nast, French, founded ca. 1783 - 1835, 1790
hard paste porcelain, vitreous enamel, gold
cup and saucer

Cylindrical cup with slightly flaring sides and scrolling handle. Flat saucer with flaring rim. Decorated with plain and foliate gold bands. On cup, a grisaille medallion of a woman nursing a winged child. On saucer, a medallion with urns, wreath and drapery.
Design for an Oil-burning Pendant Lamp
, mid- 19th century
Graphite, pen and ink, brush and watercolor on paper; verso: graphite
Drawing

Horizontal rectangle. Design for an oil-burning pendant lamp, the upper part only partially finished with graphite outlines. The lower part of the bowl is half a sphere with a gold band above. Fastened to the bowl are horns with flames, four visible in the elevation, each connected in pairs by gold horns lying horizontally over laurel wreaths. At center, a quiver hanging surmounted by a similar wreath in the interval between the horns that are not connected. The lowest part of the bowl around the knob is decorated with arrows. Above at the upper conical part are heads, whose eyes are covered by drapery festoons. On top is the socket for the lighting flame. Two chains are shown. Beside and below the lamp are sketches and parts of sketches of decorative details. Verso: another sketch for the chains.
Design for an Earring
, early 19th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Similar to designs for 1938-88-7587 and 1901-39-743; the latter appears to be a somewhat later simplification but transforming the ribbon of the drapery as it is here, into a piece of cloth.
Trophy Design
Jean-Charles Delafosse, French, 1734 – 1789, late 18th century
Etching on laid paper
Print

Design for an ornamental hanging trophy. A copy after one of the trophies in the print titled ‘Attributs D'Eglise (Attributes of the Church), published ca. 1771-1775 by Jean-François Daumont, engraved by Pierre François Tardieu, after Jean Charles Delafosse. Trophy depicting objects associated with the church and liturgy, including books, ewer, fruit, wheat, chalice on a plaque, flaming candles, wheat, textiles, and flowers. The plate is numbered.
Designs for Vertical Friezes or Pilasters
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates of designs for vertical panels or pilasters. The left plate has three designs, decorated with, from left to right: an anguiped fountain with winged putti around the spraying water; an Atlas with a winged lion atop a cloud; and a half-human half-dragon grotesque with coral, shells, and seaweed emerging from her head. The right plate has three designs, decorated with, from left to right: an ornamented fasces with dragons; Apollo with a lyre under a baldachin; and a grotesque design with a putto holding attributes of painting at the top. Both plates are signed and numbered.
Card case
, mid-19th century
Brass, silver wash

On one side ornament shows a woman in Classical costume feeding an eagle, on the other, Trinity Church, New York; surrounded by leaf forms and scrolls.
Study for a dancing woman, “Moods to Music,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, ca. 1895
Graphite on wove paper
Drawing

Sketch of a female figure dancing.
Rocaille Motifs and Dados, from Set No. 120
Franz Xaver Habermann, German, 1721 – 1796, 1750-1770
Etching on paper
Print

Plate 3. Two columns stand before the ends of a dado. Rocaille motifs.
Calle de Commerce, Barranquilla, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite, brush and white gouache on tan wove paper
Drawing

Architecture and landscape sketch showing oblique view of the Calle de Commerce in Barranquilla, Colombia. In foreground at left, a typical rectilinear thatched house with plaster walls is visible. Similar structures on either side of the street extend toward a vanishing point on the horizon. Three figures, including two children, occupy the street. Above, the sky is filled with wispy clouds.
Design for Bracelet
, 16th century
Pen and sepia on paper
Drawing

An oblong containing an octagonal diamond, surrounded by shell-‪ like volute with a round diamond on each side. The corners are filled by volutes, containing round diamonds. At left, some sketching with a pen.
Study for female figure and flowers
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on wove paper
Drawing

Sketch of a nude female figure and details of flowers.
Design for a Door Wall
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for a Door Wall.
Illustration for Hamlet: The Death of Ophelia (IV, 7)
Eugène Delacroix, French, 1798 - 1863, 1843
Lithograph on paper
Print

The Death of Ophelia (IV, 7)
Sidewall
, 1870–75
Machine-printed, machine made paper

A small floral motif in delicate shades of blue, pink and off-white with leaves in pale green and off-white. This was the last of six layers of wallpaper found on walls in the old Jacob Ruf farmhouse, Kaaterskill Junction, New York.
Design for ceiling decoration
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Horizontal rectangle. One quarter is shown. A hermae supports the panel of an arch. Two hermae supprot at right an entablature, which is parallel to the arch at left. Between the supports is a semi-circular representation of a chariot and soldiers. The attic is shown from below, over the entablature. A pointed arch was sketched first.
Bernini's Fountain in St. Peter's Square, Vatican City
Frederic Edwin Church, American, 1826–1900, January 1869
Graphite on tan wove paper; verso: graphite
Drawing

Architectural sketch showing an oblique view of Bernini's fountain in St. Peter's Square, set against the facade of St. Peter's Basilica. At left, the double-tiered fountain shoots water high into the air, blurring a view of statues behind it. In the background, the facade colonnade of St. Peter's Basilica, surmounted by tall statues, is visible. 

Verso: Loose landscape and architecture sketch showing a view overlooking the city of Rome, with the lantern of St. Peter's Basilica in the immediate foreground and the Tiber River in the background. A partly cloudy sky comprises the upper half of the composition.
Study for a group, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on tracing paper mounted to board
Drawing

Above, Sketch of a male figure's head, torso, and arm; Below, Sketch of figures positioned near a colonnade and pedestal. The left arm is not shown neither is any limb of the maenads. Bottom, the figures and groups respectively (-6, -10, -17, -23) are shown near a corner of a colonnade and in relation with a pedestal. A figure similar to -11 is sketched in front of the background which shows a form in bird's eye view.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, 1789
Block printed on handmade paper

Arabesque paper with Priestess of Venus pouring libations, under bower supported by doves and suspended crossed arrows. The figure stands on a lambrequin, with floral scrolls, floral swags and bead swags, and floral bouquets. Printed in twelve colors on green ground.
Madonna
J. Carroll Beckwith, American, 1852–1917, ca. 1900
Graphite on brown paper
Drawing

Head of a girl, tilted slightly toward the right, looking down. Hair parted in the middle. Head covered with veil, one end of which is brought around the neck.
Bandbox cover fragment
, ca. 1830
Block-printed on handmade paper, pasteboard support

c) Two portions of same design, depicting infant Bacchus, with garland on his head and riding a goat.
Study of the Left Hand of a Woman
, 18th century
Red crayon on light brown paper
Drawing

Vertical rectangle. Study of a woman's hand at rest, with the cuff of a sleeve.
Wooded Island, Maine
Frederic Edwin Church, American, 1826–1900, 1878
Graphite on white wove paper
drawing

Landscape sketch showing a view of a small, heavily wooded island on a lake near Millinocket, Maine. At center, the dark island hosts several tall trees that rise above the other indistinct and loosely rendered foliage. In the background, the distant lakeshore is visible. Above, the sky is variously illuminated, likely by the light of the setting sun, whose "splendid glow" is reflected in the water below.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Two sketches of a female figure in profile.
Onzieme livre des oeuvre de Mr. Meissonnier/Projet de Chandelier à branche pour le Roy.
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

1921-6-212-28-a: Title page for the eleventh book of the work of Me...;     1921-6-212-28-b: 1st state. Central fountain with river god at left...
Designs for Acanthus Leaf Ornament
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching and engraving on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. The plate features two versions acanthus leaf fronds, one in outline and the other with shading, and a pod and flower in the upper right corner. The plate is signed and numbered.
Purse
, 19th century
silk embroidery on linen foundation Technique: embroidered in rococo stitch on plain weave

Pocket book covered with embroidery in lattice pattern worked in polychrome silks; lined in green silk and with green ribbon tie.
Embroidery sample
, ca. 1770
silk, paper Technique: plain weave faced by floats of a supplementary warp in alternate alignment and floats of a continuous supplementary weft; embroidered using satin, split, stem and speckling stitches

Violet ground embroidered in a border design of rose flowers and seed pods in pale green, light blue, yellow, orange and white.
Two Friezes with Rams, Candelabra, Trophies and Putti
Felice Giani, Italian, 1758–1823, ca. 1805
Black chalk on off white laid paper
Drawing

Friezes featuring candelabrum, in center between two symmetrically disposed rams. Trophy of non-military objects. Frieze below. At left, altar beside genius holding torch.  Sphinx and griffon sitting with backs toward each other, crossed tails. Above, putto flying seizing wing of sphinx. At right, torso of woman with head, springing from leaves.
Mount
, 19th century
Bronze

Sphinx, in profile facing right.
Sampler
Mary Batchelder, American, born 1757, 1773
silk embroidery on linen foundation Technique: embroidered in satin, cross, half-cross, eyelet, rococo, chain, and roumanian stitches on plain weave foundation

Sampler with a stylized floral border on three sides. In the upper third are three sets of alphabets and a set of numerals, separated by geometric and floral borders. In the center, three stylized flowers and an inscription: 
Mary Batchelder Was Born June The 13th 1757 Wrought this Sampler 1773 
While God does Spare for Death Prepare

A large two-handled vase of flowers is centered in the lower third, with a bird and an insect on each side and flowers scattered in the foreground.
Sample
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction textile with an adapted design from the Louis XV period with rocaille work, foliage, blossoms and figures in Chinese costumes. Design inspired by the Cooper Union Museum collection.
Textile
, 1740–49
silk Technique: discontinuous supplementary weft (brocaded) on a plain weave foundation with auxiliary pattern created by weft floats.

Sprays of polychrome flowers and bowknots on a while background. Background is patterned with a white on white design. Both the primary and auxiliary pattern reverse in direction.
Photograph
Hector Guimard, French, 1867–1942, 
Photograph

A photograph of a chair designed by Hector Guimard that is upholstered in fabric and has a carved wood top and legs.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Mold-blown favrile glass

Gray metallic luster on ribbed gourd-shaped body. Opaque white glass inside lip and probably most of interior.
Temperance and Peace
Jean Marie Delattre, French, active England, ca. 1742 - ca. 1840, 1783
Stipple engraving on paper
Print

A young man holds a wreath over the head of Peace, a girl seated beside Temperance. Moulded frame.
Two Sketches of Female Nudes
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Above, reclining woman with arms over head. Below, reclining woman with right arm raised; two studies of left arm, one across body and one above head.
Band
, 17th century
linen Technique: grid of withdrawn element work with neddle lace, reticella style

Band worked in a series of squares containing various motifs such as a mermaid with a stag, Cupid, crowned figures and a ship.
Return of the Fleet
Childe Hassam, American, 1859–1935, December 26, 1918
Lithograph on tracing paper with deckle edges
Print

Naval ships are at anchor in the Hudson River. A launch seen in lower foreground.
Fragment
, 17th century
linen Technique: bobbin made (continuous braid-like)

Border fragment of deep points and insertion. Each large point edged with minute points. Alternating points have flower-filled urn, and a minute flower pot above a rosette.
Altar
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

An altar with an arched niche containing a statue of Christ with the Cross, and flanked by Corinthian pilasters and columns. Supporting this order is a base section with a projecting semi-circular center with a representation of a chalice and wafer. Above the arch of the niche, a cherubim. The pilasters and columns support a simple entablature and a triangular pediment, with a projecting semi-circular portion from which hand lambrequins. Sculpted angels kneel on the pediment, with standing figures of saints at
Sketch of Figures Bearing a Cross
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

A figure supporting each arm of the cross, with others between.  Angel with arms up, beneath the center. Feet of heavenely figure above. Probably a study for a mural of the Ascension.
Zaimoku Island at Matsushia
Kawase Hasui, Japanese, 1883 – 1957, May 8, 1920
Woodblock print in colored ink on paper
Print

Body of water with a sailboat before a pierced rock. Two trees on top of the rock. Low distant shores.
Doily
, 19th century
linen Technique: embroidery on net, machine net with Tambour work

Circular doily with a leaf and lozenge border.
Saint John's Gate, Clerkenwell
Joseph Pennell, American, active England, 1857–1926, 1903
Etching on paper
Print

Horizontal rectangle. A broad pointed-arch Gothic gate spans the street. Figures are seen passing through the gate.
Fortuna (Fortune)
Hans Sebald Beham, German, 1500–1550, 1541
Engraving on laid paper
Print

Vertical rectangle. A winged figure of a woman, standing in profile, facing right. She holds a palm in her left hand; a wheel on which sits a small figure in her right hand. In the distance at left, a ship in full-sail. Title above: ''FORTUNA''
Square
, 18th century
linen Technique: deflected element work

In center, Paschal Lamb surrounded by a floral wreath.
Embroidered picture
, 17th century
linen foundation, silk and metal wrapped around silk core embroidery Technique: embroidered

Small oblong pictorial embroidery, possibly for a bible cover, worked in petit point in colored silks with metallic threads as background. On the left, a bearded man sitting at a table reading, with an angel standing over his shoulder and a bird above; on the right, a Moses holding the two tablets in front of his chest. Arranged in squares with a floral decoration in the center.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern, details in large open mesh.
Figure
, 16th century
Earthenware

Flattened figure with grotesque large head on shortened body. Forearms and hands placed on abdomen. Traces of white pigment about eyes, collar, and wrists. Female.
Fragment
, 17th century
Meduim: silk, metallic thread Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Green silk ground with an extra weft of silver. Design in rows of two units alternating and changing directions in each row. One motif is an 'S' form: the other a 'C'. The 'S' is in yellow with metal thread; the 'C' is alternately white and peach.
Border
, 19th century
silk Technique: bobbin lace, blonde style

Lace showing a pattern of sprays of flowers and leaves forming a band above a narrow border of conventionalized flowers.
Study of "Altarpiece of Saint-Germer-de-fly," Paris, France
Francis Augustus Lathrop, American, 1849–1909, ca. 1870
Brush and watercolor, graphite on paper
Drawing

Sketch of the altarpiece of Saint-Germer-de-fly. The Virgin Mary and Saint John are shown beside the cross with Saint  Peter and Saint Paul.
Fragment
, possibly 17th century
silk Technique: dyed and cut supplementary warp pile (velvet) in a twill weave foundation

Incomplete design of foliage and flowers in blue, yellow, green, brown, and red.
Textile
, late 18th century
cotton Technique: printed by two plates printed sequentially on plain weave

Large rectangular panel printed in red on white showing pastoral scenes and birds among ruins. French copy of an English toile entitled "The Old Ford," with minor variations.
Ribbon
, mid-19th century
silk Technique: gauze weave with supplementary weft

Yellow gauze ribbon with tufts on selvage, stripes and brocaded thistle in self color.
Cap streamer
, mid-18th century
linen Technique: bobbin lace, Mechlin style

Cap streamer in Mechlin style with open floral sprays alternating with floral bouquets emerging from cornucopias bordered by garlands and terminating in small-scale scrolls at intervals.
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Fragment of ivory damask weave silk brocaded in silver yarns, with red and pink silk, showing floral design in the ‘Bizarre' style.
Fragment
, 5th–6th century
linen, wool Technique: tapestry

Linen plain weave containing a complete Coptic tapestry band in very good condition. In center a little soumak is within a white circle with a white animal and human (?) figure. To the left and right are areas divided into two horizontal registers; upper left same as lower right except direction is reversed; same true of lower left and upper right. One register containes flower or bud leaf, lion; the other leaf, donkey, two half-palmetto leaves together. Ground throughout bright red with edging of both sides in areas of registers white angular half-spirals.
Knife with Porcelain Handle
Bow Porcelain Manufactory, English, active ca. 1744 – 1776, mid- 18th century
steel, silver; soft paste porcelain
knife

1985-103-202/207: Sabre-shaped blade, plain bolster. Silver ferrule ...;     1985-103-202: Sabre-shaped blade, plain bolster. Silver ferrule ...
Border
, ca. 1820
Block-printed and flocked on handmade ppaer

Top band of floral and foliatte, central band of rope twist with acanthus and floral motifs, bottom band of dentil. Printed in orange flock with overprinting, 2 shades of yellow and brown on grisaille foliate and blue-striped ground paper. Zuber ?
Album of Furniture Designs
Auguste Péquégnot, French, 1819 – 1878, 1849–66
Album

Please note numbering changes as follows:  2 prints had not been numbered when accession numbers were originally marked (between the original 4 & 5 and bet. orig. 8 & 9); 1 print had been marked with 2 access. numbers, when in fact it was a folded sheet and should only have received 1 number (orig. 2 & 3).  Sheets 1 - 5 were reconciled easily; however all other numbers had to shift due to the missing number between 8 & 9.

Inventory team 2009/2010