biglam/cooper-hewitt-alt-text huggingface dataset:
Mount Chocorua from Hill Near Tamworth Village
Daniel Huntington, American, 1816–1906, September 4, 1855
Graphite and white crayon on pale green paper
Drawing

Meadow in foreground, and ridges with trees beyond. Mountain in distance, center.
The representation of Mount Etna with the forge of Vulcan.
, 1767
Etching Paper; watermark: lily in double ovoid topped by V
Print

Horizontal rectangle.  The mountain is surrounded by a wall with huge pedestals with statues of horses at the corners; a fountain is at center front, and above it, on the mount, is Vulcan's forge, with arms scattered about.  Aurora in a chariot on clouds above.  In the foreground, hay brought in tow ox-drawn carts; figures are standing about a fire.  Framing lines.  Bottom:  "Disegno della Seconda Machina rappresentante il Monte Etna gia rinomato per la favolosa di Vulcano quivi assegnata dal Virgilio.  Incendiata...[like -141]...Sicilie S S S la Sera delli 29 Guigno 1767," and similar -141.  Signed similar to -141.
Textile
, 19th century
silk Technique: compound satin

Irregular broad stripes of blue satin and white taffeta.  Undulating stems and flowers in blue and bunched of polychrome flowers formed by extra wars on the white taffeta stripes.
Model de Lit de Repos pour Boudoir ou Alcove
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1782
Crayon-manor in red ink on laid paper
Print

Design for a daybed from the eleventh book designs by Huet. The daybed is set into an alcove, draped in curtains decorated with flowers, tassels and passementerie. The daybed is set with floral textiles, draped along the front, and tied with a ribbon, trimmed with tassels and passementerie. Two winged putti sitting on lions hold the drapery on either side of the daybed. Two cushions with tassels on the daybed. The alcove panel is blank with a floral and ribboned garland along the bottom edge, above the daybed. The plate is titled, numbered, and signed.
Plate 3, "Cahier de Blançoires Chinoises"
Jean-Baptiste Pillement, French, 1728–1808, 1770–1780
Etching on paper
Print

Two Chinese figures balance on a slender see-saw with disks for eats at either end, supported in the center by an arching ladder. The Chinese figure on the left holds a branch from which a hoop and garland are suspended. Two bordering lines. Top: "B' "3'; bottom: "J. Pillement Inv. Et Sculp." "J. J. Avril Sculp."
Stage Design, Ruins of Temple
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Ruins of antique temple.
Fragment
Meiller & Co., 1770s
cotton Technique: relief printed on plain weave, colored ground

Two repeats of the left portion of a design composed of alternating leaf clusters and floral sprays with a border of a meandering strip of lace and serpentine ribbon tied about repeating bunches of flowers.
Oberwesel, Rhineland
Eugène Edouard Soulès, French, 1811–1876, 1828
Black crayon, brush and wash, brush and white gouache on greenish-brown paper
Drawing

A part of the walls and of the houses facing the Rhine are shown. An isolated tower is in the center, at right. Written below: Oberwesel, sur le Rhin
Project for Wall Paintings, as Decoration of a Frieze
Felice Giani, Italian, 1758–1823, 1785–1820
Pen and ink, brush and sepia wash over traces of graphite on light-green laid paper
Drawing

At left, seated woman and seated young man serving as caryatids; below, vase at caryatids' feet, putti and cornucopia besides them;  above caryatids' heads, capitals. Standing symmetrically behind them, women, supporting entablatures. Upper part of windows sketch.
Architectural Fantasy: Temple of Athena Interior
Charles Michel-Ange Challe, French, 1718 – 1778, ca. 1750
Pen and black ink, gray wash and white gouache over pencil on laid paper
Drawing

Flights of stairs lead downwards to the transept from a hall at left and from the apse at right. The design of the center of the apse has been subjected to a correction. The statue of the goddess was originally intended larger than she was definitely sketched. Only the left side of the the apse shows a colonnade and a relief over it in the rear.
Design for a Book Binding
Alice Cordelia Morse, American, 1863–1961, ca. 1890
Brush and gold paint on paper
Drawing

On beige ground, gold knots and swirls above and below.
Grotesque with Putti and Grape Vines
Master of the Die, Italian or German, 1530 - 1560, 1532
Engraving on laid paper
Print

Vertical grotesque design with putti, grape vines and a central candelabrum motif.
Title Page
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

Title page for a series of 12 ornamental vase designs. A vase with two scrolling handles tops a fountain set in a spherical niche. Two tritons grip the base of the vase, and their fins merge with a mascaron. Water spills from the mouth of the mascaron into and over a half-shell basin, below which the title of the series is inscribed. The plate is lettered and numbered.
Design for a Comb
, ca. 1810
Pen and brown ink, brush and yellow, brown, blue-gray wash on white wove paper, laid down
Drawing

Horizontal rectangle. Design for the cresting of a hair comb intended to be executed in gilded metal with diamonds and a cameo. In the center, a circular cameo with the head of Bacchus, between two griffons. Nine tines sketched below.
Potier d’Étain Bimblotier
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate depicting fourteen designs for liturgical objects made of pewter, including crosses, incense bows. Buckets or aspersoriums, thuribles, and a staff. The objects are numbered and lettered. The plate is titled, numbered, and signed.
Decorative door boss and nail
, ca. 1550–1700
Steel-plated iron

Rhomboid mount with repoussé boss in each corner. Surrounding center hole, a faceted 8-pointed star. A round nail head with a square shank.
Project for an altar: intended to be executed with colored marble and gilded bronze
, 1780–1800
Pencil, pen, black ink, brush and various water colors on light creamy paper.
Drawing

Vertical composition of an altar shown in profile. Framing lines at the left, right and bottom were only partially preserved.
Frieze
, ca. 1830
Block printed and flocked paper

Acanthus and bead moldings at top. Below, a serpentine band of grape leaves in green flock.
Banquette avec des accotoirs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for two benches, one with a back and armrests, and another without. Both are adorned with striped, fringed, and tasseled textiles, and with ornament motifs including guilloche, bead course, rosettes, and fluting. Above the benches are design details of the carving and the profile of the bench with the armrest. The plate is signed and numbered.
View of Amsterdam
Léopold Flameng, French, 1831 - 1911, ca. 1865
Drypoint in black ink on cream colored paper
Print

Two fishing boats are anchored in a small harbor. Jetty in right foreground and buildings with towers beyond.
Project for a Fountain in a Park
, 1775–1800
Black crayon, pen and ink, brush and sepia, watercolor on paper
Drawing

A tall column crowned by an allegorical figure (Astronomy?). At its base, upon rocky stones sit two figures (Hephaestus and Venus?). Along the edge of the fountain are four pedestals with figures of women holding cornucopias, the one at left inscribed with POM[ona]. In the foreground at right, a clergyman, a lady, a gentleman converse in front of the fountain.
Army Encampment
Winslow Homer, American, 1836–1910, 1862
Graphite, brush and watercolor on wove paper
Drawing

Horizontal view of an army encampment showing tents at right and left, in foreground; a line of tethered horses, in left middle ground; and additional tents suggested in background; verso: sketches of human and horse legs.
The Salutation at the Masquerade
Edouard de Beaumont, French, 1821 - 1888, ca. 1860
Pen and ink, brush and watercolor on bristol board
Drawing

Vertical rectangle. Two figures engaged in conversation. Woman at right in a hat with red and green trimming, wearing a yellow blouse and black bloomers, is being addressed by a man in Directoire costume with a long red nose. Pen and ink transcription below.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, and a high entablature on top. The panel is divided into narrow green and wide lilac vertical stripes. Alternative suggestions are made for their decorations in the lower and in the upper part of the design; rows of alternate leaves and bunches of grapes, and row of leaves, respectively, for the narrow stripes; lozenges of a richer design between bunches of boughs, respectively, for the broad stripes. A leaf garland, the upper part of which has a black background, is show on top.
Sketch for a Bacchante
Daniel Huntington, American, 1816–1906, 1887
Graphite on cream wove paper
Drawing

Nude female figure moving towards the right, head turned to spectator. Verso: Details of drapery and limbs.
Button
, 1852–70
A) Brass B) Pewter

Component -a is on card i80
Component -b is on card C
Stone Arch, Stone Base
Frederic Edwin Church, American, 1826–1900, April 27, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Architectural sketches showing views of ancient Roman ruins near the village of Burak (also spelled Burraq) in southern Syria. A stone arch is showng at left with a detail of its base at right.

Verso: Loose landscape sketch of a field or plain the foreground that leads to a rugged, layered mountain ranges in the background. Olive trees and other vegetation visible at left.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined blue laid paper
Drawing

Man seated in right profile, reading a paper. His feet not shown.
Textile
, 18th century
silk Technique: painted on plain weave

Design of serpentine tree trunk throwing off flowering branches with birds. Panel is composed of several pieces, pasted together and mounted. White ground.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp on satin ground (velvet)

Red trimming fragment in a design of leaves and flowers.
Design for a Woven Shawl
, 1820–1850
Brush and green, yellow, red, and lilac gouache on dark brown tracing paper, mounted
Drawing

Waved and rising stems with naturalistic flowers of different kinds, with leaves and a kind of tentacle.
Caricature
Robert Frederick Blum, American, 1857–1903, 1881–1883
Graphite on wove paper
Drawing

Sketch of a young female figure.
Le Jardin des Plantes
Favre Petitpierre, France, 1802–1818, 1802–1818
cotton Technique: printed by engraved copper plate on plain weave
Textile

Design in red on white ground of a zoological park with fenced enclosures containing animals. People strolling. Chef de piece present at upper edge.
Textile
, late 17th–mid- 18th century
silk Technique: plain weave

Fragment of an allover pattern in the bizarre style, showing small landscape scenes including a ship, an architectural arcade, and plants bearing fruit and flowers. Polychrome design on an ivory ground. This fragment is practically one unit of a square on checkerboard repeat.
Le retour de l'IIe d'Elba
Ferdinand Favre Petitpierre & Cie, ca. 1825
cotton Technique: printed by engraved plate on plain weave
Textile

Three pieces seamed correctly showing a partial repeat. Napoleon waving to his troops in a wintry landscape. In purple on white.
Cup
, early 19th century
Tin-glazed earthenware, transfer-printed decoration, overglaze decoration and lustre

Tea cup with pink lustre banding and pink transfer-printed figures of Faith, Hope and Charity.
Band
, 16th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

Linen band ornamented with reticella in a geometric design.
Pen tray
Louis Comfort Tiffany, American, 1848–1933, ca. 1910-20
Favrile glass, bronze

1997-11-4/9: Six-piece desk set of favrille glass and bronze in...;     1997-11-5: One piece of a six-piece desk set. Pen tray of fav...
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Triangular-shaped vase with three long applied glass ribs; dark smokey yellow to light yellow color.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. green ground with bright pink and dark green floral motifs with ribbons
b. green gound with gold and dark green floral motifs with ribbons
c. dark red ground with white and green floral motif with ribbons
Page Four from "Premier Livre De Differents morceaux A l'Usage de tous ceux qui s'appliquent aux beuax Arts Inventé Par G.M. Oppenort Architecte du Roy Et Gravé par Huquier," Serie A (Moyen Oppenord)
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

A fantastical animal, a satyr-like creature, above a pedestal decorated with masks, shells, fruits, etc. Inscription, upper left: "4"; upper right: "A"; lower left: "oppenort in."; center: "Avec privilege du Roy"; lower left: "Huquier sculp. et ex."
Fragments
, 14th century
silk, metallic threads Technique: two interconnected plain weave structures (lampas) with discontinuous supplementary weft patterning (brocaded)

Five irregularly shaped fragments of woven silk with a tawny pink ground (formerly red?) with an all-over design of meandering grape vines in tan and larger motifs in straight repeat forming horizontal rows. These motifs alternate colors across each row: off-white, silver, yellow-green, silver, etc. In one row, peacocks facing right. In the next row, a smaller-scale motif of a tree with two birds at the base. In the next row, pelicans facing left, with the inscription "PELYCE" on the wing. In the final row, trees again with a duck and a hedgehog at the base.
The Gift of Friendship: A Token of Remembrance for 1847
John Sartain, American, 1808–1897, 1847
Engraving in black ink on paper
Print

Vertical rectangle. B: In front of a wall-fountain an old man and a boy are seated, right. A harp is seen at left.
Trimming
, mid-18th century
silk, metallic thread Technique: woven

Design of plain center with saw tooth borders in yellow and metallic thread.
Fragment
, late 19th century
silk Technique: compound weave with supplementary weft

Orange ground with a hexagonal diaper pattern. Four quatrefoil foliate design forming circles and brocaded in white silk.
L’Automne
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

Design for a narrow vertical panel representing Autumn, featuring arabesque motifs, a statue of Bacchus on a plinth, nude female figures, panthers, a roundel with a woman and satyr embracing in the woods, grapevines, putti, fruit, birds, scrolling leaves, baskets of fruit, and vases. The panel is framed by a ribbon and bead, and lamb's tongue moldings. The plate is signed, numbered, titled, and dated.
Portraits of United State
Frederick T. Stuart, 1837 – 1913, ca. 1888
Steel engraving Support: white wove paper
Print

Vertical rectangle; within oval frames are bust length portraits of the presidents, grouped around a central vignette of government buildings. Illustration for John Stevens Cabot Abbott's ''Lives of the Presidents.'' matted with 1957-148-50A.
Fragment
, 19th century
silk, metallic Technique: brocaded satin

Small blossoms on rose satin ground. Both selvages present.
The Satyr Family
Albrecht Dürer, German, 1471–1528, 1505
Engraving on laid paper
Print

A satyr stands at left, playing a flute. A woman is seated on an animal skin, at right, holding a child on her lap. Trees in the background.
Sketch of a Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Nude female figure reclining to the left, her head turned to the left; arms unfinished. Second sketch  of a leg, lower left. Sketch of a foot, lower right.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with bars added)

Fragment with a symmetrical, wavy, ribbon-like design. Several types of ground used between the toile.
Peep-show, View of the Buyten Hof in The Hague
Georg Balthasar Probst, German, 1732 - 1801, 1732-1801
Engraving on paper
Print

View of The Buyten Hof, In The Hague
crewel wool
, 17th century
crewel wool on cotton Technique: embroidered on twill weave

Valance of cream-colored cotton, twill weave, heavily embroidered in polychrome crewels. Design of large leaves, flowers, branches; bird in center. Lined with dark blue cotton.
Peep-show, Vue du Cours de Marseilles, No. 25
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Design for a necklace
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1765
Pen, brush, grey, green water colors. Gold. Paper
Drawing

Vertical rectangle. The end of the left part is on -6194. The scheme is !!! Above in the center, and in the center of the cross, are blossoms. Garlands of leaves and blossoms. The upper pendant has the shape if an artichoke, the lower one of a cross, composed of blossoms and small lower stems.
Avenue of the Allies
Childe Hassam, American, 1859–1935, 1918
Etching on wove paper
Print

Fifth Avenue at 59th Street in New York, looking North. The buildings have flags for the Armistice parade.
Sewing sample
, late 19th century
Cotton

Hexagonal shaped piece of white crochet with raised central pattern of petals, originating in center. Below, attached, is a small square sample.
Textile
, late 18th–early 19th century
cotton Technique: block printed on plain weave

Small rectangular fragment, seamed in the middle, in a design of rosebuds on a cream-colored ground.
Bearded Man with a Staff
, 1780–1820
Pen and ink, brush and sepia on paper
Drawing

A bearded man leaning upon a large staff, a book in his left hand.
Ornament, Christmas tree
, 1850–99
Dough

Shape reminescent of a lyre, with red and green sugar flakes and two black pearls.
Three Grotesque Heads in Profile (After Hogarth)
Jane Ireland, British, ca. 1790
Etching on paper
Print

Three grotesque profiles of men in long wigs, outlined with scratching, exploratory lines imitating roughly drawn grotesques by William Hogarth.
Button
, 18th century
Mother-of-pearl, glass

Central rhinestone on five-petalled flower placed on disc of blue glass surrounded by small rhinestones; border of petals carved in relief and gilded in spaces between petals. Copper shank.
Portrait of Lord of Lavden (1637)
Isaac Herbert, 1797
Stipple engraving on paper
Print

Half-length portrait of a man wearing a van dyck beard and lace collar over a figured doublet. He faces one quarter right. Below, engraver's and artist's names.
Pleated fan
, 1884–1885
Paper leaf with chromolithograph; varnished and painted wood sticks

Pleated fan, paper leaf with chromolithograph showing a bullfighting scene on the obverse. Girl dancing at a cafe frequented by bullfighters on the reverse. Varnished wood sticks with painted grain.
Cooper Union Museum Lace Study Chart
, late 19th century
linen Technique: needle lace
Medallion

Oval medallion with a male figure wearing a cap, cape, breeches, and holding a walking staff. Piece stitched on a green substrate and is part of a Cooper Union lace study chart.
Border
, late 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Border of Point d'Alençon with a design of small-scale floral shapes edged by a garland on one side.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, baskets of flowers, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Furniture Designs
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A horizontal plate with designs for furniture featuring Neoclassical and Empire style motifs - a chair, cabinets, console table, stool, and chaise longue. The furniture features scrolling foliage, palmettes, garlands of flowers, a vase, animals, birds, mythological creatures and figures, lion headed herms, sphynx, and rosettes. The plate is signed and numbered.
Table cover
, 1840s
wool Technique: block printed on plain weave

Central medallion of an 8-lobed shape surrounded by a massed border. In black on red.
Wine Glass Cooler (Verrière; One of a Pair)
Sèvres Porcelain Manufactory, French, established 1756, 1776
soft paste porcelain, vitreous enamel, gold
monteith

Oval, with wavy sides and incurving scalloped edge. Curved foliate handle at either end. Decorated with horizontal gold bands twined about with laurel cables, and scattered roses and bunches of roses.
Embroidered picture
, ca. 1830
silk. Technique: satin stitch embroidery, chenille embroidery, and watercolor.

Chenille and silkwork landscape picture with painted sky and water worked in silk floss and chenille yarns in various browns, greens, golds, and pink.  A bay or river-scape: in the foreground, a forested area with a small farm.  On the opposite shore, a large town.  From the right, two points of land (or islands) jut in, each with houses.  Many boats on the water, both sailing vessels and row boats. The buildings and fences are satin stitch, while the land masses, trees, etc. are dense chenille work.
Proof for exhibition catalogue, "Jockeys," Kingore Galleries, New York, NY
William Hunt Diederich, American, b. Hungary, 1884–1953, 1920
Offset printing on fabriano cotton wove paper
Book

Left, printed photograph depicting "Fountain" designed by William Hunt Diederich. The base of the fountain depicts three rearing horses; Right, page layout for text.
Fork with Eight-Paneled Agate Handle
William Boswell, active London, late 17th century., late 17th century
steel, silver, agate
fork

1957-29-3,4: knife (a-f): Eight-panelled agate haft with scallo...;     1957-29-3-a: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-3-b: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-3-c: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-3-d: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-3-e: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-3-f: One of a set of six knives (1957-29-3-a-f). Each k...;     1957-29-4-a: One of a set of five forks (1957-29-4-a-e). Each f...;     1957-29-4-b: One of a set of five forks (1957-29-4-a-e). Each f...;     1957-29-4-c: One of a set of five forks (1957-29-4-a-e). Each f...;     1957-29-4-d: One of a set of five forks (1957-29-4-a-e). Each f...;     1957-29-4-e: One of a set of five forks (1957-29-4-a-e). Each f...
Border
, 1850–1900
Block printed and flocked paper

Printed architectural molding with gild edge bands at top and bottom edges, blue flocked center band. 
H# 177 (B)
H# 179 (A)
H# 180 (C)
H# 181 (D)
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, textured

Foliate medallions with thick "C" and "S" scrolls running along the bottom and thin "C" and "S" scrolls running along the top. The bottom half contains vertical stripes which stop a swag of small dots connecting each medallion. Printed in gold, gray, cream, brown, and shades of green.
Coverlet fragment
, 1830s
wool, cotton Technique: plain weave with supplementary weft patterning (overshot)

Section of an overshot coverlet with large squres in broad band framework; various geometrical fillings to all areas. Pattern formed by wool pattern wefts of dark blue and rosy rust on ground of undyed cotton cloth.
Clenched Hand
, late 19th century
Originally plated brass
Matchsafe

In the form of a clenched hand with ruffled cuff, thumb between index finger and middle finger. Circular lid at base, hinged on back. Striker on bottom.
Jito Tenno (Workers Dyeing Cloth), from Hyakunin Isshu ubaga Etoki (The Hundred Poems Explained by the Nurse)
Katsushika Hokusai, 1760 – 1849, ca. 1840
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Scene shows workers in various stages of dyeing cloth.