biglam/cooper-hewitt-alt-text huggingface dataset:
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The sixth plate from a series of ten illustrating the tools and art of embroidery. Patterns in outline with some of the ornament illustrated for embroidered liturgical or ceremonial vestments on a plain background within a double-lined border. A scale is included along the lower center-right of the plate. The different parts of the design are identified with letters. The numbers and letters are referred to in the accompanying text, which is not included in this album. The plate is titled, signed, and numbered.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on paper
Drawing

Sketch of a magazine cover with a female figure seated and reading an opened book on her lap.
Hoher Göll and Hohes Brett near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 6, 1868
Graphite and white gouache on gray wove paper
Drawing

Landscape sketch showing a view of the mountains known as Hoher Göll and Hohes Brett in the Bavarian alps near the town of Berchtesgaden, in present day Germany. In the immediate foreground at right, a river that may be the Königsseer Ache or the Ramsauer Ache curves through a rolling and heavily wooded landscape. In the middle distance at center, a small, round prominence is shown. In the background, a soaring range of the Bavarian alps backdrops the scene with multiple discernable peaks. The Kehlstein is shown at far left, the Hoher Göll at center, and the Hohes Brett at right. Lightly-rendered clouds float just above these peaks.
Sketch, for an office building (possibly Villa Albani)
Carlo Marchionni, Italian, 1702–1786, ca. 1725–75
Graphite, pen and ink, brush and gray watercolor
Drawing

The structure has three stories and a balustrade above the entablature to hide the roof. It stands in front of another building, the upper side of which is visible behind the balustrade. At left is the section, contiguous to the façade showing alternative suggestions. Four pairs of pilasters flank three open archways, each having in the interval a door or a window, respectively. In front of the façade a fountain.
Sidewall
, 1885–95
Machine-printed, gilt, textured paper

Horizontal rectangles, giving complete width. Design, in two shades of brown, simulates conventional foliage pattern in cut and uncut velvet, with simulation of metal thread in field. Printed in browns and gilt on gray-green ground. Stamped with vertical ribbing and with relief design.
Design for an Interior
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of a room decorated with ornament motifs including branches, urns, putti, drapery, and fluted columns. The plate is signed but the numering is not visible in the crease of the album.
Textile
, 17th century
silk Technique:

Red and yellow fabric has an alternating pattern of large and elaborate scrolls enclosing urns with leafy plant forms. Large crowns are on either side of the urns.
Brooch
, 1825–50
Pen and ink, brush and watercolor on paper
Drawing

A knot with a hanging diamond.
Judith with the Head of Holofernes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1587 – 1605
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: Judith stands in the foreground, an upraised sword in her right hand. In her left hand she holds the severed head of Holofernes. A servant kneels, right, holding an open sack. The body of Holofernes is visible on a bed at left. 
Verso, left: Judith stands in the foreground, an upraised sword in her right 
hand. In her left hand she holds the severed head of Holofernes. A servant kneels, right, holding an open sack. The body of Holofernes is visible on a bed at left. 
Verso, right: Oval frame with seated putti above and figures flanking to the sides and below.
Designs After Architecture Fragments
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) of architecture fragments including pedestals, grotesque ornamentation, a tomb, a pediment, and cartouches. The plates are numbered but not signed.
Fragment
, ca. 1815
cotton Technique: printed on plain weave

Fragment shows a scene from the Adventures of Telemachus that has Venus descending through the clouds on a chariot to the Island of Calypso.
Fifteen Sketches for a Throne
Giuseppe Barberi, Italian, 1746–1809, ca. 1810
Pen and brown ink, graphite on off-white laid paper
Drawing

Top row: two angle views and two plans of platforms with thrones. Center row: three elevation, a plan of platforms with thrones; the right part of an elevation suggests a parapet, another suggests a parapet and a niche behind the throne. Bottom: five side and front views suggesting pedestals with panopiles at the bottom of the steps; a plan; front view of the seat alone. Dark brown strip along the bottom edge.
Fragment
, 18th century
silk, metallic Technique: plain weave with weft floats and discontinuous supplementary weft

Metallic gold chinoiserie sprays on green ribbed ground brocaded in both gold strips and gold wound on cream silk core
Rank badge
, 1644–1911
silk, metallic threads, coral beads Technique: satin weave foundation with embroidery in satin stitch, couching and beading

Mandarin square for civil official of the second rank. A golden pheasant, embroidered on black, in flight and surrounded by cloud forms and symbols. The two pieces, meant for the front of a coat, have been sewn together.
Meadow and Mountains
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite on tan wove paper
drawing

Landscape sketch showing a rectangular, framed view of evergreens in front of layered, wooded mountain ridges that recede into the distance. In the foreground, grass extends to the middle distance, where it encounters a wood fence at right, and the evergreens at center.
Ceiling of Cabinet dedicated to Peace, Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, brush and gray wash over black chalk ruled lines on light greenish-beige wove paper. Support: light greenish-beige wove paper
Drawing

Ceiling divided into 9 rectangular and 4 square compartments. Central horizontal rectangular panel shows Triumph of Peace: at left, small genii with wreathes and  seated winged Victory; at center, pedestal inscribed PACE with statue of peace and altar inscribed GIANO. Behind altar stands priest, before kneel worshipping figures; at right, two females approach altar, one with basket of fruits, one with thyrsus. In four square panels within octagonal compositions are personifications (perhaps Athena) of the Arts: Painting, Sculpture, Architecture and Music or Poetry.
Fragment
, ca. 1890
cotton Technique: machine made

Beige imitation Alençon. Ornamental strip made up of small pieces of lace, for the center a stem with leaves with a border on either side in design of four-petaled flower in compartments.
Two Panel Designs
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

Two designs for ornamental panels printed on the same plate, side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, c-scrolls, feathers, shells, rinceaux, ribbons, platforms/ plinths, canopies, figures, vases, and a dragon. In the center of each panel are figures within fantastical landscapes. To the left, a man sits leaning against a plinth with a vase, a canopy above his head and trees in the background. To the right, a swan in the foreground and a building or house in the background. The plate is numbered and signed.
Portrait of Paolo Belli (Blanes) (1780-1823)
Antonio Locatelli, Born 1800, ca. 1840
Engraving on paper
Print

Bust-length portrait of a young man in three-quarter view to right. Dressed like an ancient Roman; at left background, a stone wall.
Buttons
, late 19th century
wood

1938-58-1383-a,b: egg-shaped buttons with two holes for sewing.

O...
Buttons
, 1750–99
Silk thread wound on bone or wood form

Two buttons: pale pink and light green silk thread wound or sewed on bone or wood button frame, so as to divide face of button into four quarters, each quarter composed of straight lines of the two colours.

Component -a is on card A
Component -e is on Cooper Union Exhibition card 3
Sea Girt, New Jersey
Samuel Colman, American, 1832–1920, September 11, 1878
Pen and black ink, brush and yellow, brown, and blue watercolor, white gouache, traces of graphite on tan paper
Drawing

Horizonal view of a deserted beach divided by a framing pen line into upper and lower sections: in top section a cedar wood is shown in left middle distance under a cloudy blue sky.  Sand and weeds are in the foreground, with the sea at right rear; in bottom section a view of the sea is shown from the shore, with a narrow, sandy stretch in foreground, dunes in the central middle distance, and a wood in left background.
Candelabra with Two Arms, Candle Snuffer, and Candle Extinguisher
, ca. 1720
silver, brass
candelabra, candle snuffer, extinguisher

Chamber candlestick with stepped base, scalloped at bottom. Two s-curve branches support ringed sockets. Finial at center. Ring handle with thumb rest. Candle snuffer is a small hollow cone with ball finial. Undecorated snuffer used to extinguish the flame and trim the wick of a candle.
Frieze
Jean Le Pautre, French, 1618–1682, 1640–50
Etching on white laid paper
Print

Acanthus rinceaux originate from the half-fugure of a man car-rying a fruit basket on his back and shown in profile, at right. A snake and a bird gaze at each other. (RB'44)
Title Page and Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

Title page and arabesque panel design featuring a central medallion with a seated female figure and an incense burner on a tripod, framed by a flowering vase, birds, festoons of leaves, fleurons, cornucopia, scrolling leaves (rinceaux), rosettes, a basket of flowers, and a winged mascaron (mask). The plate is numbered.
Button
, 1870–71
Brass and pewter

Buttons showing Gallic Cock and words "Republique Francaise" - one star under support, right foot resting on ball.

Component -b is on card H
Project for a Fountain
Etienne-Maurice Falconet, 1716 – 1791, 1720–30
Charcoal, black and white chalk with brush and blue wash on off-white laid paper
Drawing

Below, a circular base, molded.  From its center rises a blossom-like bowl.  It is supported at the front by a dancing girl, at the sides by dancing satyrs.  In the center is a putto blowing water from a large horn.  The entire front is colored light green.
Stage Design, Interior of Palace
, early 19th century
Sepia wash and graphite on paper
Drawing

Horizontal rectangle. Interior of palace hall with large canopy in the middle and seats beneath it. Richly decorated in the antique style.
Suit coat
, 1770–1780
silk, metal, paste Technique: velvet, appliqued and embroidered

Green velvet coat embellished with applique floral sprays in metallic threads, spangles, net and multicolor paste gems.
Fragment
, 17th century
silk and metallic thread

Floral and S-shaped forms facing in alternate directions. In gold and silver on a red ground.
heater
, 17th century
Pierced copper, turned wood

Dish is a decagon in plan, rounded with gadrooning at bottom. Pierced throughout. Three shell-shaped prongs connecting to shell-shaped feet. Turned wood handle.
Sidewall and border
, 1780–90
Block-printed on handmade paper

Border composed of a small geometric design of curved lines. Arabesque design composed of a motif of a triumphal arch through which a warrior (Roman) is running, back view, carrying a long spear in one hand and a shield in the other. Opposite is the second motif-an urn of flowers setting in a hanging metal rack. The design is classical in feeling and these two motifs alternate. Paper consists of small sheets joined together. Printed in green and red on a blue field.
Marriage scenes
Alexandre Buquet, French, 1802–1865, ca. 1825
cotton Technique: printed by engraved roller on plain weave
Textile

Four scenes, captioned in French, of marriage; asking for the woman's hand, the civil ceremony, the bedding of the bride and the day after the marriage. In purple on white.
Nina, ou la folle par amour
Gorgerat Frères et Cie., Nantes, France, 1783–1815, ca. 1790
cotton Technique: printed by engraved copper plate on plain weave
Chef de piece

Design in red on a white ground. Isolated scenes that illustrate the story of "Nina", a musical comedy by Dalayrac (1753-1809) in Paris in 1786. The book was by Marsollier (1750-1817).
Six Coats of Arms
Jean-Raymond de Petity, French, 1724 – 1780, 1766
Etching and engraving on paper
Print

A plate illustrating six labelled coats of arms for Parisian city officials.
Chair
Herkimer Chair Works, active 1890–1900, 1890–1900
wood [oak], metal, fabric

Platform rocker with dual side springs. Front casters. Pierced wood sides Arm struts and rests separated by turned posts. Flat seat and back. Back rises in curve to mechanical adjustable headrest. Base adjustable with side knobs. Beneath seat and extendable foot rest with two turned feet, circular side rails and swivel foot rest. Upholstered in gold velvet.
Textile
, ca. 1705
silk, metallic Technique: compound weave of damassé foundation (8 harness satin plus plain weave) with floats of alternate foundation wefts and discontinuous supplementary wefts bound 3/1 twill \ by a supplementary warp

Fantastic leafy forms and entwining plants form a motif in metallic edge with light green plants one above the other and side by side for a continuous pattern. The background is dark red and damassé, the pattern of which forms a narrow shadow-edge to the motifs.
Chalice
Artisti Barovier, Italian, 1877 – 1919, ca 1885
Vetro a retorti mouth-blown glass

Two gold-flecked seahorses mounted on a chalice with spiral twists in pink and gold; the stem entwined with a serpent; the base matching the chalice with pink and gold reticello decoration
Plate Illustrating Standard Concrete Block Façade Walls (“Murs de Façade ‘Standard’ en Agglomérés”)
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the wall construction of the facade.
Standardized Rural House
Hector Guimard, French, 1867–1942, 1920
Diazo print on beige wove paper
Diazo print

Shows plans of a house.
Goblet
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

a&c) Inverted bell-shaped cups with deep blue upper portion and milky blue-white rims shading into clear glass; domed foot with white rim and eight white tapered pinwheel forms radiating form base of stems. b) The same except that milky blue-white forms more definite frame around leaf pattern on cup and arched foot is almost fully covered by whitish pinwheel design.
Studies of Male Nudes
Felice Giani, Italian, 1758–1823, Century: 19
Pen and brown/black ink, brush and brown wash on white laid paper
Drawing

At left: a young man shown in profile, with lowered right arm and with left arm raised and turned backwards. The torso and legs are divided into three oblong sections numbered ''1'', ''2'' and ''3'' in the proportion of 6:5:7. Axes of movement are shown. At left center is athletic man turned toward right
Textile
, 19th century
silk, metallic thread Technique: plain compound weave

Ground striped horizontally red, tan, green, and purple with supplementary weft of gold metallic thread that forms geometric design over silk stripes.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Pen, brush, bistre, grey water color. Paper

Vertical rectangle. Scrollwork frame with a mask below, and a head above the central part. The right arch is slightly different from the left one.
Embroidery Design: Top Pa
Mademoiselle Montalent, ca. 1785
Gouache over graphite on white laid paper
Drawing

Vertical rectangle. A bunch of flowers is seen partly upon the lapel and partly beside it. Smaller ones are below. Strings of pearls.
Fragments
, 18th century
medium; silk, metallic Technique: woven

fragments of floral and polychrome pattern on cream.
Fragment
, 17th century
silk, metallic Technique: plain compound twill weave

Tile-like design in red, white and metallics on blue ground. Incomplete floral border at one side.
The Wedding Procession: Couple walking left, facing away
Hans Sebald Beham, German, 1500–1550, ca. 1545
Engraving on laid paper
Print

Vertical rectangle. At left, a peasant with his hat under his left arm walks beside a woman. Both figures walk to the left: the man seen almost from the back; the woman in profile.
Fringe
, 16th–17th century
silk Technique: woven

Green and white fringe with a heading in a checkerboard pattern. Skirt threads are arranged to form stripes.
Dress for an ecclesiastical figurine
, 18th century
silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocaded), bobbin lace

Garment for religious statue. Polychrome silk brocade showing scrolling florals, trimmed with silver metallic bobbin lace.
Textile
, 17th century
silk, linen Technique: compound satin (brocatelle)

Gold ground patterned in leaf green with large symmetrical trophies of foliage and blossoms enclosed within ogives of boldly scrolling leaves and surmounting festoons of pomegranates centering on a cinquefoil.
Fringe
, 17th century
silk Technique: woven

Fringe in green, red and white with a patterned heading and skirt threads arranged to form colored stripes.
Sculpture of "Beatrice"
Spode Ceramic Works, English, established 1776, ca. 1860
biscuit (parian), vitreous enamel, gold
sculpture

On irregularly cut base, a standing figure of a young woman with left knee bent and right arm and hand lifted to left breast. Flowing dress ornamented with enamel and gold. "BEATRICE" impressed on front of base.
Figural Letter, Capital E from a Story of Louis XIV of France
, ca. 1700
Etching with engraving on paper
Print

Shown against a group of offices in the left foreground, and a town to which a long bridge leads. Moulded frame.
Band
, 17th–18th century
linen Technique: bobbin lace

Band of northern Italian guipure. Open scrolling pattern with brides.
Towel
, 1824
linen Technique: withdrawn element with darned motifs; macramé

Long vertical towel of undyed linen with three broad bands of embroidery and drawn work in white linen thread in symmetrical designs. Motifs include: horsemen, floral forms, initials "M.O.D." and 1824, lion and a female figure, and geometrical diaper pattern. Deep macramé border at lower end hand stitched onto linen strip. One plain cloth selvage.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman's face in right profile, looking upwards. Head wrapped in headdress.
Textile
, early 18th century
silk on silk Technique: embroidery on grosgrain woven fabric

Fragment of dark brown silk grosgrain with bit of embroidery on one side. Part of large orange and yellow blossoms and green leaves. Triangular shape.
Textile
, late 18th century
silk Technique: warp printed plain weave

Long panel with chiné warp blazes forming large-scale symmetric vertical repeat of floral forms in scalloped continuous ogival framework in shades of green, blue, pink and brown on undyed silk ground. Two narrow plain selvedges.
Mural Design for Church Chancel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Printed on sensitized paper (blueprint)
Photograph

Christ, center, standing on a globe.  Angels all around, including two above holding a crown. Two trumpeters, lower left and right, and others above.
Fragments
, 1695–1715
silk, metallic yarns Technique: compound weave with discontinuous supplementary weft floats (brocaded)

Woven silk  with a design of a garden pedestal with large shell and florals, framing a landscape. With some elements of the "bizarre" style. Supplementary wefts of cream, green, beige and metallic yarns on a pale green ground.
Title page from "Cinquième Livre Contenant des Cartouches Inventés par G. M. Oppenort Architecte du Roi et Gravé par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

In an oval frame, composed of acanthus leaves (lower part), shells (upper part), etc. and resting on a small console, is engraved the title: "Cinquieme livre / contenant / des cartouches / Inventes par / G.M. Oppenort / Architect du Roi / et / Gravé par Huquier / avec privilege du Roi". Further inscription, lower left: "Se Vend à Paris chez Huquier".
Woman with an Infant Satyr, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Second state
Fragment
, 19th century
silk Technique: cut and uncut voided supplementary warp pile (velvet) in a plain weave foundation

Fragment with dark brown cut and uncut voided pile on a light brown ground. At top is a repeating pattern of a curved band of flowers in cut pile on an uncut voided ground. Below are triangular shapes with alternate curved stripes of cut and uncut voided velvet in diamond and flower shapes. Just below is a scalloped edge with a flower garland in cut and uncut pile.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...;     1970-26-4-cs: Dense all-over pattern of foliage with small purpl...
Border
, ca. 1850
Flocked

Yellow rose bunch on green ribbon or rod, with gray stripes. Printed two across.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Rectangular window in green, yellow and salmon, in woven pattern.
Sidewall
, ca. 1820
Block-printed

Original document for "Sawtooth Chain."  Floral zig-zag pattern.  Printed in red, pink and white, on a tan or yellow ground.
Album of Prints: New Vases Designed by Maurice Jacques
Maurice Jacques, French, ca. 1712–1784, 1760-1775
Album

Album of prints containing the six plates designed by Maurice Jacques, spelled Jacque throughout the series. The title page has the name of the printmaker in the lower right of the plate: M[arie-Anne] Rousselet F[emme] Tardieu." In the other plates, her name is replaced with that of the publisher, "[Jean-François] Daumont ex," in the space traditionally reserved for the engraver.
Tureen with lid and stand
, ca. 1760
Tin-glazed earthenware

Oval tureen (a) with stepped domed lid (b) having shaped edge and center knop; oval stand (c) with shaped edge; all with white ground decorated with ochre flowers and foliage; narrow band along edges of cover and stand.
Album of Designs for Pendant Trophies
René Charpentier, French, 1680 - 1723, mid- 18th–late 18th century
Album

Album of designs for Pendant Trophies from two printed series of twelve designs (including title pages) after R. Charpentier. The first series is incomplete in this album and the title page is from a later edition. Most of the trophies feature military themes with others related to sculpture and the arts.
No. 107
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1868
Mouth-blown crystal, facet-cut and polished
Red wine glass

Mouth-blown crystal wine glass, elaborately facet-cut and polished.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and watercolor, gouache, graphite on wove paper
Drawing

Rectangular gray glass window composed of frames within frames, with rectangles and triangles creating intricate patterns in glass.
Window shade
, 1875–1900
Machine-printed paper

a and b) Elaborate lace design with fringe and tassel suspended from ornate cornice with lambrequin. In the center of the lace panel is a basket of flowers and two tassels hanging from lambrequin. Printed on brown ground.