biglam/cooper-hewitt-alt-text huggingface dataset:
Justice and Strength, in Two Octagons
Felice Giani, Italian, 1758–1823, 1812
Pen and dark brown ink, brush and greyish-brown wash over traces of graphite on textured laid paper
Drawing

Top: woman, with civic crown shown holding sword and pair of scales, seated in apse, flanked by two putti; left one holds fasces, right one holds opened book, inscription below in brown ink: GIUSTI. Bottom: woman with helmet and seated in apse holds tree trunk, while seated and kneeling putto helps lower tree. Another putto, standing at right, holds shield showing representation of victorious lion over steer. Written below in brown ink: FORTEZA.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1897
Brush and gouache, gold paint on paper
Drawing

On a green ground, triangular cartouche composed of two torches and ribbons in gold and black.
Design for the Interior of a Passageway
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1800–1844
Graphite, pen and ink on paper
Drawing

Elevation of a passageway hung with fringed textiles, standards and panels with Pompeiian style figures.
Six Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Six designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, scrolling acanthus leaves, rosettes, festoons of leaves, flowers, foliate branches, beads, armor, helmet, axe, spear with a flag, shield, quiver of arrows, quill and ink pot, book, crown of flowers, sword, scythe, and an hourglass. The plate is numbered and signed.
Project for a monument for Foro Bonaparte, Milan, 1800
Felice Giani, Italian, 1758–1823, 1810-1820
Pencil, pen, and black ink; gray wash watercolor. Paper.
Drawing

Vertical rectangle. Very large. Steps lead to the round base, the lower part of which is not decorated; some inscriptions. The central part has a smaller diameter. Above a strip with inscription is a frieze with trophies of weapons between female genii. The cornice of the entablature has the same diameter as the lower parts. The statue of the Roman emperor stands on two round stockles. At right, in the background, a wall; at left a fortress. Clouds. On the steps, two persons, standing, and one recumbent. Cf. 1938-88-4106
POELE d’un même genre, en colonnes tronquées, avec trophées, et surmonté d’un buste de Pallas.
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching and hand colored watercolor on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a pedestal supporting a column with a sculpted portrait bust of the goddess Pallas wearing a feathered helmet. The pedestal features a shield on the front decorated with flames, lightning bolts, and wings, with swords, and a lion's pelt behind. The base of the pedestal is decorated with running pattern moldings of fluting, laurel leaves tied with ribbon, and rosettes. The base below the pedestal has a laurel leaf crown tied with ribbon. The whole is set into an arche niche. The plate is signed, and hand colored with watercolor.
Magus and Youth, with a Horse and Groom, plate 19 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number
A young man and an old man stand near a horse held by an attendant.
Design for a Trophy
Mathurin Cherpitel, French, 1736 – 1809, 1755–68
Etching on laid paper
Print

Design for a trophy hanging from a ribbon. The trophy features a bagpipe, staffs, a straw hat, and basket, with sprigs of flowers and leaves. The plate is signed.
Box
, ca. 1770
Enamel, copper, brass

Shaped like a finch; colors on a field of white. On bottom, a bird on a branch of grapes.
Mrs. Rutherford B. Hayes Standing, Studies of Arm and Hands
Daniel Huntington, American, 1816–1906, December 21, 1880
Graphite on off-white wove paper
Drawing

Recto: Portrait of Mrs. Rutherford B. Hayes, standing, with right hand on bodice and left hand at side; additional studies of arm and hands. Verso: Study of left hand with rings.
Studies of the Siena Cathedral
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1872
Watercolor and graphite on paper
Drawing

Studies of parts of the stalls, of the railing and of the architectural details.
Arabesque Design
Aubert Henri Joseph A. Parent, French, 1753–1835, 1788
Etching and engraving on paper
Print

Arabesque design with a many-breasted term with ivy vine wound around her head. The arabesque also features thyrsi, sheaves of wheat, squirrels, a bucranium, snakes, and a medallion of a young woman with a small boy; the medallion is set in a frame with butterflies (perhaps suggesting the interior figures are Cupid and Psyche). The plate is signed and numbered.
Ceiling Design
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Design for a square or rectangular ceiling with a detailed view of one end. The center is blank and framed by a leaf and ribbon repeat molding. The border is decorated with a frieze with figures, masks (mascarons), shells, roundels with vases and flowers, birds, putti, festoons of flowers, scrolling leaves (rinceaux), leaf moldings, and foliate scrolls. The plate is signed and numbered.
Border
, late 19th century
silk Technique: bobbin lace

Circular border of polychrome silk with a pattern of scrolling stems with leaves and flowers and joined by brides.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction textile inspired in a part by a Lucchese design in the Cooper Union Museum collection. A closely spaced, small-scale design has lobed trefoils, roundels filled with confronted and addorsed birds and palmettes, bands of mock Kufic inscriptions and sacred symbols including the lamb.
Textile
, 1850–1900
cotton Technique: printed by engraved roller on plain weave; woven cotton tape with cotton weft-loop fringe (2 cm sections of red wool at 6 cm intervals); attached to 4 sides; note crossed and re-crossed warps

Unlined bed cover made of two full widths of printed fabric with fringe on four sides. Pattern composed of two stripes: the wider has a parrot holding a nut perched on a curved flowering branch on a blue background 18.5 cm wide and the other, 11 cm wide, a bird with outspread wings perched on a branch of red berries alternating with a ribbon bow. Two groups of stripes are half dropped with one extra narrow stripe plus an additional section of each stripe on left and right to fill full width of fabric.
EMPEREUR CHINOIS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of an older Chinese man stunding under a palm tree in a garden; figure on an alter in a landscape; other exoticized Chinese figureshold parasols or converse. This scene (chinoiserie) is set within a frame comprised of branches, scrolls, batwings, cartouches, harpies, and dragons. The plate is signed.
Le Printemps
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with arabesque ornaments and motifs including floral garlands and batwings. The plate is signed; a graphite inscription indicates this plate is "sans titre" (without title), but in other versions of this plate it has printed on it the title "le printemps" (Spring).
Standardized Rural House
Hector Guimard, French, 1867–1942, October 1920
Diazo print on beige wove paper
Diazo print

Shows three plans of a house.
L'Air
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with a central vignette of the winged wind god Zephyrus crowning Flora who is leaned against a rock. The figures are under a baldachin supported by anguipeds, and the landscape is situated above a shell shaped cartouche with a sheep head at the bottom. The plate is signed.
The Cumaean Sibyl from Raphael's Fresco in St. Maria della Pace
Raphael, Italian, 1483–1520, ca. 1600
Pencil, black crayon, white heightening on faded blue paper that is now grey
Drawing

The Cumaean Sibyl's right toes are outline in pen and ink. Written below, in ink is ala pace Px.
The Horse and the Ass, Illustration for Aesop's Fables
Victor Wilbour, ca. 1916
Pen and red ink, crayon on white board
Drawing

Horse at right in harness; ass, left with load on back and vases, both in right profile. Sun top center. Hand with whip, far left.
Bodice
, 18th century
silk and metallic, lined with linen Technique: ribbed weave with discontinuous supplementary weft patterning

Plain weave, brocaded. Lavender ribbed silk, brocaded in shades of red, green, white silks and glittering metal strips in rather large scale floral design..Lined in white silk. Probably a child's bodice.
Fragment
, early 18th–mid- 18th century
silk, metallic yarns Technique: plain weave with supplementary warp patterning and discontinuous supplementary weft patterning (brocaded)

Fragment of silk brocade with an orange ground with a minute tulip pattern forming a diaper in the background. The main, symmetrical floral pattern is brocaded in pale shades of blue, green, red, white, and gold.
Embossed wool
, 17th century
wool Technique: stamped (embossed) plain weave

Large floral design on dull red fabric; areas divided by cartouches.
Hercules and Iole
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink on light blue paper
Drawing

Horizontal rectangle. The pair sits upon a couch. He carries a tambourine, she leans upon his club. Cupid leans upon the end of the couch.
Landscape with River and Trees
Augustin Hirschvogel, 1503 – 1553, 1546
Etching on off-white laid paper
Print

Horizontal rectangle. A river flows between two high bluffs, surmounted by a castle, left, and church, right. In the foreground, two large trees, the right one merely a high stump.
Border
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern, leaf scroll, different stitches.
Trimming
, early 18th century
silk, metallic thread Technique: woven

Design of flower and leaves placed alternately up and down. In yellow and metallic thread.
Dish
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th–early 19th century
hard paste porcelain, vitreous enamel, gold
dish

Circular: curved sides, scalloped edge. Edge gilded, with band of gold imbrication on pale coral ground, and gold bead-and-reel. Within, circular band of blue diapering on blue ground, and boguette of brown and pink about gold shaft, with recurring bouquets. Bottom white, with bird, butterfly, fruit, flowers and insect.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1822.
Pencil. Pen, ink. Brush, bistre. Rough greyish paper.

Horizontal Rectangle. Shown sitting upon a platform shouldering a trident with the right hand. At right are the three heads of Cerberus.
Drawing
Felice Giani, Italian, 1758–1823, 
Pencil. Pen, Chinese ink. Paper

Slightly more than half is shown. Three bays. Angels, with attributes referring to the Pope or the Church, in the spandrels over the windows. Oblong panels alternate with the richly decorated parts. A central oblong shows the Papal escutcheon over a tablet held by putti. The lateral oblongs are coffered and show representations in central octagons.
Letter E, for Baluze's "Histoire générale de la Maison d'Auvergne"
Sebastien Leclerc, French, 1637–1714, 1707–08
Etching on paper
Print

Letter E with a shield with three beads, an archbishop's hat and cross.
Bracket
, 1755–60
Mahogany

Against the wall, a bilaterally symmetrical pierced plaque, the piercings forming a series of extended vertical scrolls. From the vertical mid-line extends at right angles a third pierced leaf reproducing 1/2 the plaque. Supported is a rectangular molded stage having its two front corners cut and bearing a pierced gallery of alternating large and small round-headed arches.
Trimming
, 18th century
silk, metallic thread Technique: woven

Design of a vine with grapes and fruit in an angular arrangement. In yellow and metallic thread.
Design for a brooch
, 1740–50
Pen, sepia, dark ink, brush, green, red, violet, yellow water colors. Paper
Drawing

Horizontal rectangle. In the center is a violet oval diamond, framed by white round diamonds, with, on top, a crowned eagle with spread wings and with a ring in its beak. A trophy of arms is below it. A ribbon and green diamonds around it; they form knots beside. They have above crowns and hanging drops; one hanging in the center. Two festoons are supported by the rings of the lateral drops and by the adjoining ribbon.
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Central ornament of floral forms surrounding pierced-heart motif; on either side cornucopiae from which grow scrolling stems with leaves and flowers and a bird, a hare and part of a second animal; narrow borders at top and bottom.
Le Temps de L'Après-dîné, from a set of the hours of the day
François-Thomas Mondon, French, 1709 – 1755, 1738
Engraving and etching on paper
Print

In a rocaille framing. An unidentified coat of arms bottom center.
Cérémonie du Mariage de Louis Dauphin de France avec Marie Thérèse Infante D’Espagne dans la Chapelle du Château de Versailles le XXIII Février M.D. CCXLV.
Charles-Nicolas Cochin the younger, French, 1715–1790, 1756
Etching and engraving on laid paper
Bound print

Interior view inside the chapel of the Palace of Versailles during the marriage ceremony of Louis Dauphin of France and Marie Thérèse of Spain. Highly decorated interior space with high ceilings and long drapery; two colonnaded levels, gallery, mezzanine, and painted domed ceiling. At all levels, large crowds of attending figures, both men and women in fine dress. The dauphin and his bride stand in center middle ground viewed from behind, a bishop officiating the ceremony stands behind them. Marie Thérèse wears a dress with a wide panier, Louis takes her hand. Behind them, in the foreground, two empty throne chairs before a table with kneeling cushions and open Bibles, the books indicating an earlier part of the ceremony. Additional cushioned stools surround at left and right.
Fragment
, 700–900
cotton, wool Technique: plain weave, predominantly warp-face foundation; pattern is discontinuous supplementary wefts interlacing weft-faced plain weave on grouped warps; sides both intact, ends cut

Part of a human figure holding a stick in his hand. Yellow, blue, green, pink and black on red ground.
Diane
, ca. 1785
cotton Technique: printed by engraved plate on plain weave
Textile

Scenes from stories of the goddess Diana and a large framed medallion showing Diana on a pedestal surrounded by worshipers. In red on white.
Candlestick
, 1750–65
Brass

Molded baluster stem, on quatri-lobate stepped petal bases, the scalloped drip pans on the campana-shaped girdled candleholder above a scalloped knop; stick unscrews in two places to form three sections.
Sidewall
, ca. 1780
Block printed on handmade paper

Military motifs. Eagle, with wings spread, halo of twelve stars about head, grasping bundle of arrows. A banner is draped about the eagle's neck, with motto: "E Pluribus Unum". Beneath the eagle is a rose branch with many roses. Other emblems include cannons, feather plumes, military helmets, banners, flags. Printed in varnished green, red and yellow on a black ground.
Fragment
, 16th–17th century
silk, metallic thread Technique: cut and uncut supplementary warp pile (velvet) in a twill weave foundation

Fragment of cut and uncut dark blue-green velvet in a pattern of floral branches on a gold-colored ground.
Plate Depicting the Tomb of Cecilia Metella, from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
plate

Circular plate of grayish porcelain with blue band between two gilt lines around rim; gilt-bordered circular medallion in center with polychrome ruins of Sepolcro di Cecilia Metella.
Jug
, ca. 1840
Glazed stoneware, pewter

Buff-colored body; hinged pewter lid, decorated with stags.
Salon in the Apartment of Count Lanckoronski in Vienna
Rudolf von Alt, Austrian, 1812 – 1905, possibly 1869
Brush and watercolor, gouache, graphite on white wove paper
Drawing

This view depicts the Salon of the Polish nobleman, Count Lanckoronski, who is seated in chair, reading. The walls are hung with paintings by Gainsborough, van Ruisdael, Waldmüller, and Claude.  A collection of antique sculpture, bronzes, glass and porcelain decorates the room.  A Persian carpet covers the floor. The armchairs are upholstered in the Victorian spirit with a floral and trellis design.
Model of the Temple of Vesta, Tivoli
, 1810–30
cork, wood (base)
architectural model

Depicting the temple in its semi-ruined state as visible in the eighteenth and early nineteenth centuries, showing the circular section building with columns ringing a central core, supporting an upper moulding. Model sits on circular footed base of dark-stained wood.
Plate 12 of the Recueil d' ouvrages curieux de mathématique et de mécanique...
Gaspard Grollier de Seviere II, French, 1677 - 1745, 1732
Engraving on white laid paper
Print

Four designs, the upper one similar to a large rosette, with radiating petal shapes, with frame alternately rounded and angled. Below, a small trefoil shape around a circle and small concentric hearts. Bottom, a sunburst becoming more geometrical. Numbered figs. 30, 31, 32, 33.
Etruscan Chimneypiece, from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
Bound print

1967-85-24: Fireplace decorated with Egyptian attributes: mumm...;     1967-85-24-28: Chimney flanked by inverted stepped pyramids heavi...
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repeating abstracted floral candelabra design crowned by a linear gold pagoda connected on the bottom to a similar smaller candelabra and on the top by a larger gold pagoda on a striated background above a border of horizontal stripes interruped by repeating fleru-di-lis. Printed in olive green, gold and bronze.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on gray paper
Drawing

Five branches at center of page fron top clockwise: branch with green foliage, branch with white tufts, branch with light brown leaves, branch with green foliage and tufts, branch with white tufts. On light gray ground.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

Treillage pattern of intricate four-sided fleurons, with floral vining, beading, and foliate scrolls. Ground is white. Printed in greens, tans, beige, and white.
Printed in selvedge: "Standard Papers 1"
Bay of Tangiers
Arnold William Brunner, American, 1857–1925, 1891
Graphite and white heightening on cream paper
Drawing

Houses down a steep slope with pines, lower right. Bay and mountains beyond.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Floral rose bouquet in a wreath connected by floral swags on background printed to simulate a textile weave. Printed in shades of green, metallic gold, tan on tan ground.
Gaming purse
, 16th century
silk, metallic yarns, leather lining Technique: embroidered

Gaming purse, now flat, has a heraldic shield in the center with scrolling columnar forms radiating to the edges. Heavy metal thread embroidery on rust-colored velvet.
Border
, mid-16th century
linen Technique: needle lace, reticella style

Wide border of linen with narrow insertion of reticella along one side. Pattern connected by brides and interspersed by portes.
Trunk
, mid- 18th century
Wood, wool, metal

Trunk with domed lid, fitted with iron-corner plates and handles, edges studded with brass nails. Covered with wool needlepoint in bold scroll and floral design worked in tent stitch, in shades of red, yellow and blue. Lid battered and worn.
Chair seat
, 1800–1810
linen, silk Technique: counted stitch embroidery

Octagonal medallion of upholstery fabric illustrating a fable by Aesop known as "The Fox and the Crow." The pattern is in white and shades of yellow on a light blue ground.
Knife
, ca. 1600
ivory (whale bone?), silver, steel, gold

Sabre-shaped blade with straight upper edge; plain bolster. Silver ferrule engraved with leaf-pattern; has traces of gilding. Carved ivory handle, oval in section, has plain lower part and a decorative pattern around the middle of the handle. Upper part of handle carved in the shape of a king (shown from the waist up) wearing a crown. He is holding a chalice in one hand while pointing to it with the other hand.
Matchsafe
, late 19th–early 20th century
Silver

Rectangle with blunt corners.  Plain silver surface with relief decoration in center a bust of grinning actor dressed as "Charlie's Aunt".
Two Sailboats
William Trost Richards, American, 1833–1905, late 19th century
Brush and watercolor, white gouche, graphite, on white textured wove paper.
Album page

Double masted schooner off shore center left with smaller sailboat to right. Other sailboats in distant right with landmass and lighthouse on horizon, right.
Textile
Schwartz-Huguenin, mid-19th century
cotton Technique: printed on plain weave

A) Ground molotte printed in grey in zig-zag and meandering ivy pattern; over-printed with detached flower clusters in pink, blue, yellow and green. B) Similar ground, smaller vine; over-printed with large floral sprays and detached rosebuds in reds, pinks, yellow, blue and greens.
Seascape with Stormy Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Dark, rough sea flat across the horizon, dark clouds overhead.
Design for pierced marble grillework
J.D. Woodward, about 1895
Pen and ink with blue watercolors on paper marble grillework
Drawing

Equilateral triangle. Design for pierced marble grillework consisting of a central six-pointed star within a star on a quatrefoil ground. Outer border of segmented leaf and circle patter.
Pattern with tape lace attached
, ca. 1900
cotton Technique: machine made tape applied to glazed cloth and the beginning of needle made fillings added

Incomplete example. Tape applied to glazed cloth following an ink-drawn pattern. Needlelace fillings.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on blue wove paper
Drawing

Yellow, pink and orange vines with pink tri-lobed flowers, white daisies with blue centers create a scattered pattern on dark brown ground.
Fragment
, mid-18th century
linen Technique: bobbin lace (Valenciennes ground with Brussels lace)

Band of scrolling leaves and blossoms.
Textile
, ca. 1825
cotton Technique: roller printed on plain weave, glazed

Repeat of the same horizontal band with two large peacocks and other smaller birds among flowers. The background is deep red-purple - the overall color effect is heavy and dark.
Border
, mid-18th century
Technique: bobbin lace

Bobbin lace entre-deux, repeat of diamonds; mid-18th century Maline
Wall pocket
, late 17th century
silk, metallic thread Technique: embroidery on salmon (faded) and blue silk plain weave; stem, knot, satin and chain stitches using dyed silks; couched gold-wrapped silk and strips of silver foil; plus attached coils of silver and gilt wire.

Wall pocket with three pockets and highly ornamental shaped top. Two pockets of pale blue silk, one of faded rose, embroidered in symmetrical floral designs in silk and heavy gold thread and looped wire. At the top a small bird in an elaborate enframement. Bound with blue silk tape and lined with pale pink linen.
Frieze
Janeway & Co. Inc., New Brunswick, New Jersey, 1848 - 1914, 1905–1915
Machine-printed paper

Horizontally repeating pattern of ribbon-like swag and trefoil medallions composed of stylized foliate motifs. Trompe l'oeil effects are used to make this machine-printed wallpaper resemble a woven tapestry. Pattern is printed in greens, pinks, reds, and grays on a tan background.
Sidewall
, 1875–1900
Fiber composition impregnated with tung oil, embossed and painted

Imitation leather. Rows of very small circles similar to lizard skin. Black ground over which brownish-red has been worked.