biglam/cooper-hewitt-alt-text huggingface dataset:
Le Militaire
Pierre-Gabriel Berthault, French, 1737–1831, ca. 1758
Etching and engraving on laid paper
Print

Design of a rocaille frame with scrolls, flowers, and military attributes, including a rifle, a speak, an ax, drums, a horn, a cannon, flags, and a helmet. The plate is signed and numbered.
Stage Design, View from Palace in Venice
Romolo Achille Liverani, Italian, 1809 - 1872, 1832
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. View from hall in Gothic palace in Venice toward San Giorgio.
Hotel in the Mountains
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Brush and watercolor, gouache, graphite on paper
Drawing

Scene of a meadow with fence and stream, female figure in foreground.
Plate 8, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscacpe in which a Chinese figure pursues, with a curved sword, a horned animal resembling a dinosaur. Two framing lines. Right top corner: "8." Right top corner: "7." Bottom: "J. Pillement.del."; "j. j. avril-sculp.1771." Bottom center: "Suite de douze Pêcheurs et Chasseurs / se vend à Paris chés Basan et Poignant Mds d'Estampes, rue et Hôtel / Serpente." Upper left corner, in ink: No. 31".
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite on paper
Drawing

A detailed sketch of female figure's head and facial expression. Shown slightly oblique, laughing.
Design for a terminal figure of Charity
Otto van Veen, Flemish, 1556 - 1629, 1576–1578
Brush and watercolor on paper
Drawing

A female half-figure terminating in a pedestal holds two children in her arms. A cloth is loosely draped about her middle. Pedestals decorated with masks and garlands.
A Soldier in Seventeenth-Century Attire
Attilio Simonetti, Italian, 1843 - 1925, 1860–1890
Pen and ink on paper
Drawing

He is shown from the front carrying a gun upon his right shoulder, and a stick in his left hand.
Textile
, late 19th century
cotton Technique: plain weave (more open weave); Z/Z twist

Yarn-dyed woven pattern of small brown, white, red, and green checks.
The Virgin With the Child and St. John the Baptist
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Graphite, brush and dark brown and sepia ink on paper
Drawing

The Virgin sits near a window, her head turned toward St. John. The Child leans against her left arm, looking at St. John the Baptist. Framing line.
Ornament Designs
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off white laid paper
Print

Designs for eight ornament motifs, featuring elements including scrolls, rinceaux, and garland. The plate is signed and numbered.
Elevation of an Apartment Interior
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of an apartment interior with a large mirror, framed by rocaille acanthus leaves and topped with a carved dragon, at the center. The base of the mirror is divided: the left, a console table; to the right, a fireplace. On the left side of the plate is a large painting of a garden with an ornamental clasp at the top of the frame. On the right side of the plate is a panel with trophies of musical motifs and a set of double doors. The plate is signed and numbered.
Design for a Candelabra
Carlo Marchionni, Italian, 1702–1786, ca. 1800
Pen and ink on paper
Drawing

At top, a triangular plan. Below, sketch for figural detail holding one branch.
DESSEINS DES BUFFETS DU BAL DE L'HOTEL DE VILLE
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Three different buffets of food at the Hôtel de Ville for the masked ball given on February 28, 1745, in honor of the marriage of Louis Dauphin and Maria Teresa of Spain.
Design for Brooch with Moses
, 16th century
Pen and ink, brush and wash on paper
Drawing

An escutcheon frames an oblong diamond. At top, the horned figure of Moses sits within a broken pediment. On either side, a ignudi with raised arms.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The vase is decorated with an opened-mouthed mascaron, mermaid and merman figures, dolphins, gadroon, acanthus, shell ornament with foliage and friezes. The scrolling handles feature acanthus leaf ornament. The description is lettered on either side of its base, with a scale below. The plate is signed.
Arabesque Ornament Design
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1788–89
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring neo-classical grotesque motifs, scrolling acanthus leaves, festoons of flowers, rosettes, arrows, female figures, masks, terminal figures, palmette, hanging trophies with musical instruments and masks, ribbons, ewers, putti, tambourines, and a winged female figure. The plate is signed and numbered.
ATTRIBUTS D’ASTRONOMIE
Jean-Charles Delafosse, French, 1734 – 1789, 1772–77
Crayon-manner etching in red ink on laid paper
Print

Design for an ornamental hanging trophy featuring objects associated with astronomy. The objects include, crown of stars, flowers, ribbons, laurel leaves, measuring devices, rulers, maps, a globe, telescope, and a chained three-headed creature. The plate is titled, numbered, and signed.
The Valère from Tourbillon Castle, Sion, Switzerland
Frederic Edwin Church, American, 1826–1900, August 25-26, 1868
Graphite, brush and white gouache on gray wove paper
Drawing

Landscape and architecture sketch showing a view of Valère Basilica in Sion, Switzerland, from the neighboring hill with Tourbillon Castle. In the foreground, the nearby rugged hillside is visible at lower right and descends abruptly to the base of another hill that hosts the Valère Basilica in the middle distance at center. The sprawling, multi-level complex of the Valère crowns the hill, with its immense walls and soaring belltower. In the background, the Rhone River, highlighted in white gouache, snakes its way through the valley floor, bounded by the bulging and rocky Pennine Alps at left, and the Bernese Alps at right.
Design for a Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and blue, white, and purple gouache on oily tracing paper
Drawing

Top row: two nosegays consisting of palm leaves and laural boughs fastened together by ribbons, the right nosegay not being entirely shown. Bottom row: six shells, the motifs of which are obliquely shown.
Two Putti
François Boucher, French, 1703–1770, 1738–49
Etching on laid paper
Print

Two winged putti flying in the clouds, with a piece of fabric wrapped around them. The one above holds a flaming torch over his shoulders, the one below holds a bow in his left hand. The plate is signed.
Purse
, 18th century
silk Technique: embroidered in chain stitch

White silk embroidered in chain stitch in designs of birds, flowers, and flaming hearts within borders.
Landscape
, 1600–1625
Charcoal, pen and ink on paper
Drawing

A large tree grows on a rocky outcrop. Houses visible on the slope behind it.
The Old Bridge at Pontegrande, Italy
Frederic Edwin Church, American, 1826–1900, September 12, 1868
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view of the old and new bridges in the Italian village of Pontegrande in the Pennine Alps. Viewed obliquely at center, the single primary arch of the old stone bridge spans a stream with rocky banks. An ancillary arch is visible to the left. Looming over the structure is the soaring arch of the new bridge, built behind it. Two massive pillars support the arch on either side of the stream. At left and vertically oriented is another sketch of the old bridge. Above it and oppositely oriented, a hasty sketch of a house's facade is visible.

Verso: Landscape sketch showing a view of the mountain Monte Rose in the Pennine Alps of Italy. Steep, wooded slopes in the foreground at left and right form a narrow valley that frames a view of snow-capped mountains in the background. The jagged peak of Monte Rosa is visible at center.
Designs for Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Designs for the five chairs. Seen from an oblique angle, on a washed ground. Detail of one chair leg at lower left.
Button
, mid-19th century
Steel

Eight-sided flat buttons ornamented with design of a bird and a flowering spray in steel, on a dull ground.
Component -c is on Cooper Union Exhibition card 8
Table Design with Vases
Pierre Lepautre, French, 1652–1716, late 17th–early 18th century
Etching on laid paper
Print

One and a half console table designs with garniture of vases placed on top. At the left, only the right half of the table is shown; under this table is the inscription with the publisher's information, partially burnished out. The table on the right is complete, although the design is divided. Each half of the table features a variation of design: on the left cornice, floral ornamentation, on the right cornice, wave design. The left table leg is fluted, the right table has scallop and floral ornamentation. The vases on the table are likewise mirrored with variations; the middle, lidded vase is surrounded on either side by a lamp, a pitcher, and a smaller vase. The title and designer information is printed below the table on the right. The name of the publisher, designer and engraver has been burnished out on the plate. The plate is not numbered.
The Virgin With the Child
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Brush and watercolor on paper
Drawing

The Virgin stands in front of what seems to be a sarcophagus in a niche. She is seen from the front, her head turned toward left, in profile. She supports with her left side the Child. In front, sitting on the floor, a man, seen from the back, holding with both hands a large book. Framing lines, except at left, the upper and the lower stretching at left as far as the edge.
Design for Two Candlesticks
Lefebvre Manufactory, Tournai, early 19th century
Brush and watercolor, pen and black ink, on cream laid paper
Drawing

Intended to be executed in green and gilded bronze and marble. At left: A woman in classical attire stands upon a pedestal and carries in each arm a horn. A wreath is in front of the pedestal. At right:  a similar woman carries in each of the lowered hands a horn and upon the head a socket.
Fringe
, 17th century
silk Technique: woven

Fringe with a narrow woven heading and a skirt of red silk threads looped and twisted.
LA MAISON DE MR LE PELLETIER
Adam Perelle, French, 1638 – 1695, 1683–1703
Etching on laid paper
Print

Bird's-eye view of gardens and a large manor house, with a townscape and landscape beyond. The gardens feature parterre planting, potted trees, basins with jets of water, trellis/ lattice walls, with figures walking throughout the grounds. The plate is titled below.
Panel
Ponson et Cie, 1850–1900
silk Technique: jacquard woven; predominantly warp-face plain weave (blue) with discontinuous supplementary wefts (multicolor) variously bound on the front and free-floating on the back

A promotional panel for a silk weaving company has a crowned lion, taken from the coat-of-arms of Lyons, that stands on his hind legs on a floating cloud. A right paw rests on a stack of crates while the left one points to an inscription: "Soieries Ponson & Cie, Lyon. Behind the lion, on the right, is a steamship with an American flag. On the left is a locomotive. A brilliant rayed sun shines directly behind the lion's head.
Bonnet veil
, 19th century
silk Technique: machine made

Bonnet veil with a pattern of conventionalized flowers in green silk arranged to form a border on three sides enclosing horizontal stripes.
Architectural Sculptures
, 1725–1775
Brush and brown ink, traces of graphite on off-white laid paper
Drawing

Upper left part of a capital with a cherub and acanthus leaves.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, rectangular form, surrounded by two figures of young tritons at lower left and right. Vegetation, floral decoration, and vines complete the ornamental scheme.
The Shore at Kativigh, Holland
Whitney Warren Jr., American, 1864–1943, August 21, 1887
Graphite, brush and watercolor on paper
Drawing

View of the dunes, sand, and sea. The lighthouse, the church and boats on the shore are shown in the central middle distance.
Cresting of a frame
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two angels or putti kneel upon moldings; the left one raises a chalice, the right one a sixteen-pointed star. Between them and behind the right angel is an enormous book, upon which the latter leans his right hand. It is probably the apocalyptic book closed by seven seals. Beside are garlands. Colored background.
Piédestal pour figure Equestre
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pedestal for an equestrian statue decorated with rosettes, garland, lamb tongue, acanthus leaves, military trophy, faux text, and bound leaf. The plate is signed.
Decorative Objects
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Sketch of a lamp base with two stylized herons; Verso: figure in uniform.
L'architecture française, ou recueil des plans, élévations, coupes et profils des eglises, palais, hôtels et maisons particulières de Paris, et des chasteaux et maisons de campagne ou de plaisance des environs, et de plusieurs autres endroits de France (French Architecture, or Album of Plans, Elevations, Sections and Profiles of the Churches and Townhouses of Paris, and of the Châteaux and Country Houses of the Surroundings, and from Several Other Places in France)
Jean Mariette, French, 1660–1742, 1727
Book

One of the most famous architectural publications of 18th century France, "L'architecture française" by Jean Mariette records the most celebrated examples of French architecture and interior decoration from the end of the 17th to the beginning of the 18th century. Mariette's clear, detailed representations of what was then considered the best examples of French architecture were to inspire generations of architects and designers all throughout the 18th century. "L'architecture française" is considered a milestone in defining French classicism, together with the works of other architects such as Jacques-François Blondel, who collaborated with Mariette on this work before publishing his highly influential "De la distribution des maisons de plaisance, et de la décoration des édifices en général" in 1737-8.
Great Wave at Satta Beach, Suruga, from the series The Thirty-Six Views of Fuji (Fuji Sanjuroku Kei)
Ando Hiroshige, Japanese, 1797–1858, 1858
Woodblock print in colored ink on paper
Print

Large curling wave extends from left to right ending in a white spray, seen flat against the sky. In the distance at left, Mount Fuji is seen in lavender tones. A small sailing vessel is shown at center right. Red cartouches with inscriptions at top right and lower left. Red border across top edge.
Decorative Project for Ceiling: Tondo with Triumph of Cerus
Felice Giani, Italian, 1758–1823, 
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Angles in four octagons showing the history of Proserpina and Ceres; Eight folders with cupids recounting the symbols of the Seasons
Title Page
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Title page set within an architectural frame.
Veüe en Perspective du Palais des Thuilleries du Costé de l’Entrée
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the main façade and courtyard of the Tuileries Palace in Paris with figures, horseman, and carriages in the foreground and military troops gathered at the gate. The façade features windows, pilasters, dormer windows, and pediments. Parts of the building are numbered with an explanatory legend below. The plate is titled and signed.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737-1749
Etching on laid paper
Print

A krater form with crossed oars on the body of the vase, below which is a grotesque mascaron. The foot of the vase is of an organic, spiraling shape. The lip of the vase has a scalloped rim emerging from the interior, and there are knob handles derived from shell forms. The print is lettered but is missing the numbering found in earlier editions.
Design for Doors for a Porte Cochère
Louis Crépy, French, 1680?–1760, 1680-1718
Etching and engraving on laid paper
Print

Elevation of a set of arched double doors for a porte-cochère decorated with ornament motifs including shells with rinceaux.
Design for Bridge in Garden Pavilion
Franz H. Heissinger, ca. 1909
Graphite on wove paper, lined
Drawing

Design for half-moon bridge in garden pavilion. Flower motif decorates balustrade and supports of bridge. Vegetation drawn on left side of bridge. Scale noted on bottom.
Buirre pour les Évèque
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical pitcher made of shells and plants; spout has mask and foot made of sea creature. The plate is signed and numbered.
Panel
Tapissier Fils et Debry, 1850–1900
silk, metal foil wrapped around silk core Technique: jacquard woven; predominantly warp-faced plain weave (black) with discontinuous supplementary wefts (multicolor) variously bound on the front and free-floating on the back

A promotional panel for a silk weaving company from Lyon has a fully-rigged ship on black ground. The three masts carry the flags of Germany, France and the United States while a gold seated figure on the stern holds the flag of the British Empire. Below the ship is a modified coat of arms of Lyon, which shows a rampant lion holding a sword. Above the lion are three bees, perhaps a reference to Napoleon's support for the silk weaving industry of the region. The coat of arms is festooned with a leafy garland and swirling ribbon with the inscription: "Lyon Travail, Commerce, Industrie, Union, France." Below is another inscription: "Tapissier Fils & Debry."
Farmyard with Ducks and Chickens
Winslow Homer, American, 1836–1910, 1872–73
Brush and oil paint on canvas
Painting

Horizontal view of a barn with a lean-to shed; to left, are two hay-ricks and a farm wagon.  Chickens and ducks on fences and in grass, toward foreground; leafy trees surrounding, in background.
A Ride on an Ocean Steed
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story from "Archibald the Cat," about a sailor and a young passenger stranded at sea. Center, two figures. Bottom figure, man with beard, carrying younger figure on back. Larger figure is ridding large fish with object in mouth, in the ocean.
Ploughing near Mountains in Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a pair of oxen or cattle ploughing near a range of rugged mountains in Mexico. The pair are visible at lower left, yoked and pulling a plough behind them. In the background, a rough and undulating mountain range forms a rolling horizon. 

Verso: Landscape sketch showing a view of a distant, sharp mountain Mexico, situated in the background at center, and the varied landscape before it. In the foreground, some kind of vegetation is visible, while the middle distance comprises of a mostly empty expanse.
Table mat
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: bobbin lace

Oval mat with a squaw and papoose, tepee, and brave with bow on a mesh ground with a picot border.
LE BASSIN DE SATURNE
Adam Perelle, French, 1638 – 1695, 1672–1703
Etching on laid paper
Print

View of a large circular basin with a fountain made up of sculptural groups featuring the figure of Saturn surrounded by putti with a festoon of shells and the edges decorated with ice motifs, representing Winter. The whole is framed within a bosquet (grove) with paths leading outwards. Figures (courtiers), horseman, and gardeners throughout the grounds. The plate is titled with a description.
Wall Clock (Cartel) Design (Title Page Before Lettering)
Jean François Forty, active 1775 – 1790, 1775–94
Etching and engraving on paper
Print

Title page before lettering and design for a wall clock (cartel) with a round clockface with a central rosette and roman numerals, framed by two roosters and topped by a globe and foliate branches. Below, a mask (mascaron), festoons of flowers, rosettes, scrolling leaves (rinceaux), and ribbons.
Chinese Figures
Bromley Hall, Middlesex, England, 1712–1763, 1765
cotton Technique: printed by engraved plate on plain weave
Textile

Off-white cotton, copperplate-printed in a red Chinoiserie design, in the style of Jean-Baptiste Pillement. A young man and a servant carrying a standard ascend a floating stair to a pavilion, amid fantastical foliage. The panel shows one full repeat, and parts of two others. The fabric is pieced at the top, quilted and interlined with wool.
Flounce fragment
, 1755–70
linen Technique: Brussels style bobbin lace

Deep flounce of bobbin lace has a bold, but incomplete, design of a curvilinear zigzag. The spaces between are filled with floral forms, leafy flowering vines, and patterned cartouches.
Fragments
, 18th century
wool, linen Technique: counted stitch embroidery on plain weave

Three fragments of embroidered upholstery fabric in a multicolored zigzag pattern (flame stitch).
Textile
, mid–late 18th century
linen, cotton Technique: block printed and painted on plain weave (yellow applied by block but the blue seems to have been applied by brush)

Slightly more than one minumum unit of a half drop repeat a floral vine incorporating a pineapple. Multi-colors on an undyed background. Note small part of stamp at top.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1770–90
cotton Technique: block printed on plain weave

Scattered exotic blossoms on a cracked ice background. Two reds, blue, yellow, (overprinted for green) mulberry and black.
LE PRINTEMPS
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a young couple in a landscape; the woman sits up and threads flowers, while the young man reclines on the ground and against her legs. The scene is framed by ornament including branches, scrolls, a trophy with bow and arrows, mascarons, and a cartouche. The plate is signed.
Psyche
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1810
cotton Technique: printed by engraved roller on plain weave
Fragment

Fragment printed in red.
Amiens from the River
Joseph Pennell, American, active England, 1857–1926, 1907
Etching in black ink on paper
Print

Amiens Cathedral is seen from the side, rising above house and tree tops. Small boats on the Somme river in the foreground.
The Sumo Wrestler, Koyanagi Tsunekichi
Utagawa Kunisada, Japanese, 1786 – 1864, ca. 1840
Colored woodcut in yellow, blue, red, and black ink on mulberry paper
Print

Full length figure of a sumo wrestler, wearing a horizontally striped skirt with fringe edge.
Title Page of "Le Grand Commerce ou Le Nouveau Lire Des Changes Estranges" by Bertrand-François Barrême (1640–1703)
, 1670–1700
Etching and engraving on paper
Print

Beneath a frieze with putti and the coat of arms of a prelate is a cloth with the title as given and "DE M. BARREME / soit pour APPRENDRE A LES FAIRE PAR REGLES / ou soit pour les TROUVER TOUS-FAITS PAR TARIFS, / … / DEDIEZ / A MONSEIGNEUR L'ABBE BIGNON, / Conseiller d'Etat Ordinaire, / President des Academies, / &c." Wrinked putti hold the bottom of the cloth, revealing at bottom a ship with a standard reading "Nec Pluribus / Impar." and with a fleur-de-lys at the helm, on the sea. Below: "Se Vend à Paris 8 livres / Chez Iean Geogroy Nyon Sur le Quay de Conty / PAR PRIVILEGE DU ROY". Framing moulding.