biglam/cooper-hewitt-alt-text huggingface dataset:
Tile
, late 18th–early 19th century
earthenware

1920-15-147/158: Standing man, en face, holding club (?) and shield...;     1920-15-147: Standing man, en face, holding club (?) and shield...;     1920-15-148: Standing man, en face, with long yellow cloak drap...;     1920-15-149: Standing man, pointing toward a basket of apples a...;     1920-15-150: Blacksmith with hammer and anvil.50;     1920-15-151: Standing man, clutching walking stick under left a...;     1920-15-152: Standing man in long yellow cap, with blue cloak o...;     1920-15-153: Standing man in blue coat and black hat, leaning o...;     1920-15-154: Woman in black hat, holding distaff.50;     1920-15-155: Standing man, en face, his right hand inside his j...;     1920-15-156: Man walking toward right, holding short stick with...;     1920-15-157: Man in blue coat, walking toward left, holding sho...;     1920-15-158: Female dwarf, with disproportionately large head, ...
Project for a Chimneypiece
, late 18th century
Graphite, pen and ink, brush and sepia on paper
Drawing

The right half of a chimneypiece. In the frieze are festoons. Above the entablature is a rinceau springing from a winged half-figure in the center. Beside is a candelabrum of floral motifs springing from a chalice and a herm with the wings of a butterfly.
The Finding of the Bodies of St. Peter and St. Paul
Giovanni Benedetto Castiglione, Italian, 1609–1664, ca. 1660
Etching on paper
Print

Interior of a cave. Group of figures at right, one holding a torch towards the ground. At lower left, the bodies of the saints.
Design for a Ceiling
, 18th century
Pen and ink, brush and wash on paper
Drawing

Irregularly shaped page. At top left, a curving moulding with guilloche. Below, to the left: an undecorated square. To the right a swag held aloft by a lion mask. Around this flies four putti.
Pleated fan
, late 19th century
Silk leaf painted with gouache, carved and stained wood sticks

Pleated fan with leaf of black silk. Obverse: figures of men and women in landscape in the style of Boucher. Reverse: plain. Sticks are black pierced to form a lattice design with four-petalled flowers in interstices. Guards have a similar lattice design as on sticks.
Pleated fan and case
Nicolas Lancret (French, 1690–1743), ca. 1740
Gouache-painted parchment leaf, painted ivory sticks carved à jour; pin set with a brilliant

Parchment leaf painted with gouache showing a version of Lancret's "The Bird Fancier." Sticks are of painted ivory carved à jour. Pin is set with a brilliant.
Design for Pendant with Putti
, 16th century
Pen, brush and sepia on paper
Drawing

A round diamond is framed by an escutcheon with scrollwork and a ram's head on top, supporting the ring. The escutcheon is supported by two putti sitting upon pedestals. In the center below is a cherub .
Cupid and Psyche
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1789
Stipple engraving on white paper
Print

The two playing in the clouds. Cupid has one arm about Psyche, the quiver slung on his back, and is teasing her by holding a weath aloft. With one foot on a globe, she attempts to reach it.
Man with Buckets
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A man within a landscape holds a ring around his waist with two hanging lidded buckets. The plate is numbered, signed, and dated.
Church at Túquerres, Colombia
Frederic Edwin Church, American, 1826–1900, August 1853
Graphite on white wove paper
Drawing

Architecture and landscape sketch showing a view of a church in the Colombian town of Túquerres and nearby buildings. Situated at center left, the church features a large door sheltered by a projecting portico, beneath a gabled roof with a rudimentary belltower at center. At left, behind, and at right, the stucco walls and terra cotta roofs of other city buildings are visible. 

Verso: Unfinished landscape sketch showing a view of a rugged, craggy mountain range in the distance beyond a lake.
Aristocrates Being Carried
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene depicts two aristocrats are being carried down the trail towards another town closure to Mount Fuji. Surrounding them are attends ready to beckon on their every hope and need. The juxtaposition of the cherry blossom and famous snow-covered mountain creates an imaginary scene.
Woman with Birds
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Bound print

A chinoiserie-style print from a series of allegorical representations of the twelve months of the year. A woman stands in a garden landscape under a canopy roofed by a draped textile. Plants, leaves and trees frame the figure. She holds two birds, one is perched on a ring, hanging from a stick. The plate is numbered and signed.
Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of rugged mountains in Mexico. Situated in the background across expansive flat terrain, a serrated mountain range made up of sharp peaks stretches across the horizon. A tall peak is visible along the left margin, while in the distance at center, a heavily shadowed peak is included.

Verso: Landscape sketch from Mexico showing a burn scar from a wildfire, which stretches across flat terrain in the middle distance, and a rugged mountain range in the background. Two sharp, twin peaks are visible at center, while a dark, low range of foothills are included in front of the mountains.
Veuë du Chasteau de Versaille du côté du Parterre d’Eau
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of a garden facing façade of the palace of Versailles with formal parterre planting and fountains on two levels with stairs leading down. Trees to the right and buildings in the background. Planted vases throughout. Figures (courtiers) walking along the paths. The plate is titled and signed.
Gateway
Giuseppe Barberi, Italian, 1746–1809, 1789
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The two-winged iron railing has on top an escutcheon. It is bordered by two fluted columns, without capitals, supporting statues, and by short pieces of the wall in the same height as the columns, without horizontal tallies. In front of them are crouching lions, upon pedestals, with the heads turned toward the entrance. Laterally are short pieces of the lower wall.
Study of Seated Woman for "Titian Showing the Entombment to Charles V and Clement VII"
Daniel Huntington, American, 1816–1906, 1872
Graphite, white chalk on brown paper
Drawing

Woman on a small bench with her head in left profile and her left hand to her chin. The arm is repeated, upper left. Verso: Unfinished female head in white chalk.
Plinth or Column Base Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Eight designs for plinth or column bases sculpted with ornamental moldings and friezes featuring strapwork, scales, fluting, masks (mascarons), leaves, ribbons, flowers, and palmettes. The plate is numbered.
Slotted Spoon with Rosette Motif
, 19th century
silver
spoon

The deep, rounded rectangular bowl pierced with three rosettes surrounded by stars below pierced imbricated border, with stamped finely gadrooned rim. Slightly curving corded handle with flaring squared terminal.
Andiron Designs
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Designs for three andirons, all in the form of lidded vases on top of podiums. the plate is signed and numbered.
Galerie métallique des grands hommes français (Great Men of France)
François Augustine Cannois, French, 1787 - 1859, 1819
Cast bronze
Medal

Bust of Jean-Baptiste Massillon (1663- 1742).
Bull Sketches, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 1844
Graphite on white wove paper; verso: graphite
Drawing

Five figure sketches of various parts of bulls, likely at Thomas Cole's farm (known as Cedar Grove) in Catskill, New York. At right, three sketches of the bull's head are shown--one in profile, one obliquely viewed, and one frontally viewed. At left, the body of a grazing cow or bull is shown without a head or hooves. At upper left, a bull is loosely rendered from behind.

Verso: Sketch of a dog lying down, facing and looking at the viewer. Drawing is scratched out and struck through several times.
Design for a Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1810
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

A somewhat simplified variation of the design 1914-21-102. The left part is shown. The rinceaux are shortened, the plant simplified. A horizontally disposed plant candelabrum and an acorn rosette are shown beside the rinceau.
Design for a Jug
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a lidded jug, the lid is in the shape of a turtle, with its tail forming the handle and a spout coming out of its mouth. The plate is signed and numbered.
Knob
, ca. 1795
brass
knob

Cast head with simple mouldings. Threaded bolt on back.
Design for a painted frieze
, 1775-1800
Red chalk on paper
Drawing

At the center of the frieze is a medalion with the three graces. To either of its sides putti are surrounded by symbols of abundence and sit atop medalions and chalices.
Towel fragment
, 17th–18th century
cotton Technique: twill with supplementary wefts forming pattern

Bands of pattern containing a double-headed eagle and a castle with peacocks.
War Shield of Navajo
Robert Frederick Blum, American, 1857–1903, 1879–1880
Graphite on wove paper
Drawing

Sketch of a circular shield with symbols.
Galerie métallique des grands hommes français (Great Men of France)
Joseph-François Domard, French, 1792 - 1858, 1826
Cast bronze
Medal

Bust of Abraham Duquesne, marquis du Bouchet (c. 1610 -1688),  to the left.
Hebe
Domenico Pellegrini, Italian, 1759 - 1840, 1799
Stipple engraving on paper
Print

Within a circular medallion is the half-length semi-nude figure of Hebe, reclining, resting her left arm on a tambourine, with a cup in her right hand. A remarque, below, shows the child, Bacchus, with a cup.
Pour une Niche Dorique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevation, plan, and profile of a niche decorated according to the principles of the Doric order. The plate is signed and numbered.
Floral and Foliate Ornament Design
Pierre-Philippe Choffard, French, 1730–1809, ca. 1764
Crayon manner in red ink on laid paper
Print

Floral and foliate rococo ornament design with flowers and scrolling leaves (rinceaux). The plate is signed.
Self-Portrait of Anthony van Dyck, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1633–1641
Etching on laid paper
Print

Portrait, with the head alone etched, and with an indication of the collar. The head is turned toward the right, looking out at the spectator.
Two Variants of a Facade of S. Maria Sopra Minerva, Rome
Antonio Asprucci, Italian, 1723 – 1808, 1771–72
Pen and black ink, brush and gray wash, graphite on white laid paper
Drawing

Two ground plan and  elevation projects for a church facade. In the upper project, the lower story with three bays is topped by an attic story with pediment. A papal escutcheon is in the pediment. The lower project similar to the above design with the addition of a porch at the central bay.  
At left their sections are shown; at right their views from the side.
Ruled borders in pen and black ink.
Profil d'Entablement Dorique couronne avec fronton développée dans ses proportions
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for a Doric entablature decorated with lamb tongue and egg and dart motifs. The plate is signed and numbered.
Cornice Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two cornice designs, one above the other. The top cornice is decorated with acanthus leaves and bead and leaf ornamentation. The profile is indicated at the left side of the design, as is a scale of "2 Pouces 4 lignes." The bottom cornice is decorated with fluting, bound leaf, and lamb tongue and dart ornamentation. The profile is indicated on the left, as is a scale of "2 Pouces 3 lignes." The plate is signed and numbered but does not indicate an album letter.
Design for a Chair
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, grey wash, pen and black ink on white laid paper
Drawing

Side chair, elongated seat upholstered in purple, bordered with leaf motif on pink and white stripe.  Fan-shaped back, rectangular panel with central rosette upholstered back rest.
Street with Houses, Guayaquil, Ecuador
Frederic Edwin Church, American, 1826–1900, May 1857
Graphite and white gouache on gray-green wove paper
Drawing

Field study showing a street scene in Guayaquil, Ecuador. In middle distance at center, a thatched home and a tree inside a wooden fence comprise primary focus. Three other nearby thatched structures are visible at left. The street, highlighted with white gouache, makes up the foreground.

Verso: Partial outline of an unfinished sketch, visible right margin.
The Hudson River and Catskills from Barrytown
Daniel Huntington, American, 1816–1906, June 21, 1873
Graphite on cream wove paper
Drawing

Meadow with trees in the foreground, sloping down to river bank. River and ridges across center of composition, then mountains beyond in distance.
Study of a Lion
, ca. 1815
Charcoal on paper
Drawing

Seated lion facing left and licking its forearm.
Sketchbook Page, Folio 57: Study after Michele in Bosco, Bologna; Verso, Architectural Details
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Groups of people shown on lawn on hill top, situated in foreground. Upper parts of church shown in right middle distance; inscribed below: S Michele in Bosco Bologna. Top right inscribed: 114.  Verso: Section of column and entablature with figures 1 and 9 inscribed between horizontal lines. Sections of fluted column shown.  Top center, inscribed: 115.
Glory with Trinity and Saints (recto), architectural plan for the church of Santa Maria d'Itria in Rome
Francesco Manno, Italian, 1754 - 1831, ca. 1814–1819
Pen and ink on light blue paper
Drawing

The saint is kneeling on clouds, an angel beside him. Above the Virgin, Christ stands with the Cross, God the Father, and the Dove of the holy Spirit
Sidewall
, 1870–80
Machine-printed paper

Small portion of a paper showing a symmetrical arrangement of foliage rinceaux. Printed in greens on green ground.
Panel
, 15th century
silk, linen, wool, and metallic yarns Technique: supplementary warp pile (velvet) in plain weave foundation, cut and voided Label: silk cut and uncut voided velvet with supplementary weft

Fragment of woven velvet with pomegranate pattern surrounded by a framework of branches, in red silk pile and gold supplementary weft patterning.
Portrait of Louis Bourbon, Infants of Spain (1773- )
, ca. 1805
Engraving on paper
Print

Vust-length portrait in side view to right. The young man wears a high-collared coat with several orders.
Border
, 1890–1900
Machine-printed, embossed

Two uncut identical borders. A profuse design of single five-petalled roses and sprays of leaves. In background are sprays of ferns. At bottom is a gold band with a fan-like motif. The field is entirely embossed in narrow thread-like horizontal lines.
Elevation of Palazzo Pazzi dell' Accademia Colombaria [left]; Annunciation [right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590 – 1595
Pen and brown ink, brown and black washes over black chalk on laid paper
Drawing

Recto, left: Facade of a Florentine palazzo. The building has three stories, with the ground level featuring a rusticated architectural skin and the upper two stories heavily decorated. 
Recto, right: Within an arched space, Gabriel approaches from left, with the dove of the Holy Spirit above. The Virgin sits on the floor of her bedroom, beside a lectern.
Verso, above: Christ stands in the center of a hall administering Communion to a kneeling, haloed figure. Eleven other figures kneel at left, forming a semi-circle. A table and some spectators are at right. A colonnade is in the background.
Verso, below: Facade of a Florentine palazzo. The building has three stories, with the ground level featuring a rusticated architectural skin and the upper two stories heavily decorated.
Allegorical Figure of Faith
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1500
Engraving on paper
Print

Female figure standing in a niche, facing half-left and pointing to a ray of fire, upper left.
Sampler
, early 19th century
silk embroidery, linen foundation Technique: cross stitch on plain weave

Alphabets, numerals, plant forms and symbols of the Crucifixion.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1772–77
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, saddles, wheat, buckets, fishing rods, whips, riding boots, broom, baskets, scythe, and a flaming torch. The plate is numbered.
Design for Clock
Lefebvre Manufactory, Tournai, 1800–1825
Graphite, pen and black ink, brush and yellow, red watercolor on cream laid paper
Drawing

Base supported by tapered legs of descending concentric circles. Front panel decorated with festoons and ribbons flanked by anchors. Above, clock case at right, a child being rocked in a cradle by a woman, at left, carrying an anchor in her right hand. 

Inscriptions:
Below left, pen and brown ink: les perances du Commerce. No. 99 99

Below center: Cooper Union stampt #457D
Gunmakers Workshop Surrounded by Ornament and Names of Parisian Gunmakers
C. Jacquinet, French, active 1650 – 1660, 1660
Engraving on laid paper
Print

In the center, an interior view of a gunmakers workshop with two men and a young apprentice working with tools. Large workbench along the walls with open arched windows with a view onto the street. Gun parts and tools on the work bench/ desk with firearms leaning against a bar in front of the arched window. Names of Parisian gunmakers surrounding the scene, lettered within ornament and gun parts. Text lettered below. The ornament features grotesques, scrolling leaves (rinceaux), mascarons (masks), foliate scrolls, fleurons, fantastical animals, terminal figures, and cartouches.
The gunmakers listed include the following: Jean Chappus des Granges, Nicolas Le Conte, Mathieu de Foullois, Nicolas Laligan, François Golle, and Claude or Charles Naudin. (Names and biographical information listed by Herbert Houze, ‘Claude Roy: Graveur Sur Tous Metaux Au Chariot d'Or' Reprinted from the American Society of Arms Collectors Bulletin 2017,116:24-41)
Woman and child
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a female figure holding a child with details of the bonnet.
Inari Shrine at Oji (Oji Inari no yashiro) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

The Oji Inari Shrine was the oldest shrine in the Kanto district. The village of Oji dedicated the shrine to the rice deity Inari. Every autumn farmers and pilgrims would visit to pay homage for a good harvest. During the New Year, they would wish for health and prosperity. Inari was one of the most popular deities. His shrines were often guarded by a pair of foxes, (kitsune) who were known to be messengers for the deities. Here we see the shrine's red portico on the right side which covers one of the shrine's servants located on the veranda. He is looking at the visitors who are bringing offerings such as rice wine (sake) and baked tofu (inari sushi). Through the tall cedars is the silhouette of Mt. Tsukuba highlighted with a red horizontal streak. The tiny plum buds on the trees indicate that spring is coming.
Fragment
, ca. 1850
wool Technique: printed

Fragment with a pattern of architectural features like an arched gate with connecting walls encloses floral clusters of roses. Printed in red, green, yellow, pink and lavender on a beige ground.
Woman Holding a Child
Jean-Baptiste Pillement, French, 1728–1808, 1758
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes. A woman stands sideways in a landscape, holding a small child or baby and a long stick. A large plinth in the background with a bowl. The plate is signed.
Design for an Entrance Wall of a Dressing Room
, 1800-1810
Pen and dark ink, brush and rose wash, graphite on paper
Drawing

A wall panel showing a mantelpiece beneath an architectural perspective is flanked by folding doors. Another wall panel is beside the left door. It shows a curtain in its top part. Other curtains hang from the tops of the door frames. The top part of the wall shows a parapet with vases and panels with classical representations.
L’Amoureux Guerrier
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A print featuring rococo ornament made up of c-scrolls, scrolling acanthus leaves and shells within a tent-like structure. Sheltered within the tent are a man and woman seated with the woman looking up towards the man. In the background trees, and two soldiers facing each other. The plate is titled, numbered, and signed.
Sketches of Clouds and Rain, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August and October 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Atmosphere sketch showing views of clouds and rain in/over Catskill, New York. At upper left, a group of partially shaded, billowing clouds unleash rain in streaks upon the land below. At left, upper right, and lower right, three sketches of puffy clouds, variously illuminated, are included.

Verso: Figure sketches from Catskill, New York, showing a seated bull in left profile who faces the viewer, and, at upper right and oriented to the right. a standing man viewed from behind. With his left arm resting on his hip, he leans into a tall pole held in his right hand.
Atrium of a Church to be Dedicated to St. George
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

The approach to the church at center is flanked by pairs of pyramids connected by walls, each of them containing three niches with cinerary urns. Similar walls below the lower lateral parts of the facade of the church. A portico with six Doric columns stands in front of the main structure. The plan of the church is octagonal. Steps lead to a circular colonnade from which the dome rises. The front of the Church is inscribed: "DIVI. S. GIORGVS." "ISP" continues the inscription to the right. Steps lead to the church. In the foreground at the foot of the steps are four altars.
Valley with a Bridge and Houses near Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 5, 1857
Graphite, brush and white gouache on light brown wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a lush valley near Guaranda, Ecuador, with a bridge and houses. In the foreground at left, a rudimentary wood bridge spans a stream in a small gorge, and leads to a path on rocky, grassy terrain in the foreground at right. In the middle distance at center, the same stream curves around a rise in the ground that hosts a house, which is viewed obliquely. Two steep and heavily wooded mountainsides at left and right frame the view as they descend toward center. Rugged, rolling, and partially wooded terrain extends into the background, where a group of three houses is visible atop a hill at upper right. In the background, the summit of Chimborazo is faintly visible, peeking above a rugged mountain range that forms a serrated horizon. 

Verso: Unfinished landscape sketch showing an outlined and loosely rendered view of the volcano Chimborazo in Ecuador. The conical mountain looms above an undulating line of foothills.