biglam/cooper-hewitt-alt-text huggingface dataset:
Plate 59, Modes de Paris (Paris Fashion), Le Mercure de Salons (Mercury of the Salons)
Samuel and Joseph Fuller, London, England, July 1830
Engraving, hand-colored with brush and watercolor on off-white paper
Print

Fashion illustration featuring a woman on the left facing forward, wearing a long, voluminous, white, off-the-shoulder dress that includes floral embellishments on the skirt. She also wears black shoes, a pink belt, and a large pink and white hat on top of her brown curls. Her arms are slightly raised, with her left arm holding a black shawl which is partially covered with an elaborate, colorful paisley pattern, or perhaps reversible, with the paisley covering one side and black on the other. On the right, a woman wearing a white dress with a blue belt and a white and blue hat sits in a green wooden chair, facing slightly left and glancing right, with her back turned towards the viewer.
Fragment
, late 17th–early 18th century
linen Technique: bobbin lace, discontinuous tape

Fragment with a bust of a saint in medallion surrounded by a scrolling vine with flowers.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

Pattern containing four different motifs with every second motif linked together for foliate scrolls forming a trellis pattern. Printed in green, yellow, and white mica on a tan ground.
Frieze
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed, liquid mica

Art nouveau style design. Printed two across. Repeating design of grape leaves and bunches of grapes on long stylized stems
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, ca. 1910
Machine-printed and varnished paper

Tile design, alternating dark and light. Each tile element contains a rosette. Printed in shades of brown and yellow.
Design for an Ovoidal Painting: Temperance
Giacomo Zampa, Italian, 1731 - 1808, ca. 1780
Black chalk, pen and ink, brush and sepia wash, brush and oxidized white gouache on brown paper
Drawing

A seated woman holds a spoon over a mixing bowl, which stands beside her left leg. Ovoid, caption, signature similar to that in 1931-6550, except for: "Temperenza", "3". On verso: black crayon shadowing, belonging to the same drawing as in 1931-65-53.
Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 4, 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing a view of icebergs (and possibly coastal cliffs) along the coast of Newfoundland and Labrador in Canada. At upper left, an iceberg with sharp, rugged forms emerges from the sea and is noted as being "green" (it could possibly a rock with greenery, though this is unlikey). Behind it, the left and right edges of another iceberg are visible. Along the lower portion, a large, dissolving iceberg at left fractures into smaller, sharper fragments. The cliff at left may also be a coastline with nearby icebergs.
Design for a Salt Cellar
Luigi Righetti, Italian, 1780 - 1819, 1795–1805
Pen and ink, brush and wash on paper
Drawing

Elevation of a salt cellar. The octagonal base is stepped and beveled. Upon this are two eagle caryatids with paw feet and scrolling wings. Between them they support the vessel, decorated with leaves at the bottom and gadrooning at rim. The cup is a breast-shaped mastos form.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

View of a quarter of a vaulted ceiling with ornamental panel and cartouche decorations along the borders. A scene with two putti figures draped beneath fabric, sitting beneath a tree at lower left. Blank elongated panels within curving frames at each side. In the curved spaces between, partial views of landscapes with architectural ruins.
Trimming
, 18th century
White and colored silk in uncut velvet weave.

Two shields, under a plumed helmet, showing armorial devices, in red, blue, yellow, and red on white.
Frieze with Rinceau
Jean-Charles Delafosse, French, 1734 – 1789, 1775–80
Pen and black ink, traces of black chalk on white laid paper
Drawing

The right half is shown; rinceau flanking the central motif, of which half is an escutcheon; a crouching lion biting a snake which in turn bites a child, forms a part of a trophy of arms.
The Morse Code, Study for "Electricity as Applied to Commerce," Manufactures and Liberal Arts Building, World's Columbian Exposition, Chicago, IL
J. Carroll Beckwith, American, 1852–1917, 1891–92
Black chalk and graphite on off-white paper
Drawing

Draped figure of a woman seated on a stool, seen from below level of ground line, turned half-way toward left.  Across knees a folio, to left corner of which hand is held, while right hand rests on a telegraph key.  Center line drawn through figure.
Button
, late 18th century
Stoneware

1925-2-29: Octagonal mount in the style of Wedgwood Jasperwar...
Stage Design, Fantasy of Rome with the Castel Sant 'Angelo, the Ponte Elio and the Centaurs Aristens and Pappias
, ca. 1740
Pen and brown ink, brush and brown and gray watercolor on white laid paper
Drawing

Horizontal rectangle. Palaces with porticoes and colonnades at left. Statues of two centaurs (Aristens and Pappias) placed on plinths flank a low stair. At center, a tall obelisk stands with Castel Sant'Angelo behind and the Ponte Elio in the distance. Another palace, decorated with statues and a flower filled vase is at right.
Scene in a Temple Dedicated to Athena
Fortunato Duranti, Italian, 1787 - 1863, 1825-1850
Bistre pen and ink, brush and wash on paper
Drawing

At the center of the composition the statue of Athena is shown on a high pedestal, facing the spectator. Group of figures in foreground, right. Left: a warrior leans on his shield. View beyond the temple in distance, left. Three lines of inscription below.
Wall Decoration for Cosimo III de' Medici
Giovanni Battista Foggini, 1652 – 1725, ca. 1690
Pen and brown ink, brush and watercolor, black chalk, graphite on white laid paper
Drawing

Vertical rectangle. Statue of the armoured king, galloping to the left (to be executed in high relief), standing upon a console before a background of rose marble. Frame of metal with blue marble as inner part. On the top two winged putti upon a volute, holding with their right hands a blue ball with three golden lilies and lifting with their left hands a royal crown.
Gate Design
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

A design for a wrought-iron gate featuring central double doors, decorated with geometric bands, diaper patterns, rosettes, and scrolling leaves (fleurons). The plate is signed and numbered.
Design for the Embroidery of Wearing Apparel, No. 18, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache
Drawing

An ivy bough alternates with a bough with two lilac leaves in vertical and horizontal rows. The directions are different in alternate horizontal rows.
A Group of Four Nymphs (Motif for Design)
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on cream wove paper
Drawing

One nymph is shown dancing, three are sitting upon waves.
Two pillar stripes
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white ladi paper, lined
Drawing

Two strips, both decorated with ornamental candelabra. At left: below is a base with two half-figures of sirens. Above it are a blossom and a spear head. Then comes a trophy of weapons and above crossed flower branches, probably hanging on a ribbon. At right: below is a trophy with fasces, and a wreath, above which is a calyx, a cuirass and a shield. Standing above is a winged female genius, supporting with her head a plant with another trophy with a helmet on top. Usual background.
View of Rome from the Palazzo Braschi, Italy
Frederic Edwin Church, American, 1826–1900, January 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and architecture sketch showing a view overlooking Rome from the upper stories of the Brasci Palace (or Palazzo Braschi). A tall tree dominates composition at center left. Behind it at left, the ornate dome of a church is visible. In the background, two other domes are visible in the skyline.

Verso: Landscape and architectural skech showing a view overlooking St. Peter's Basilica and the Vatican from the north. A vibrant sunset is indicated in the background. In foreground at left, two figures admire the view.
Section of the Wall of a Nunnery Chapel with the Choir
, 18th century
Pen and ink, brush and watercolor on paper
Drawing

Elevation of a wall with a gallery above. At center, a door. Above this, a shell ornament and the gallery bows out in a convex curve.
Les Jetteurs de Fillets (Casting of Nets)
Anne Philiberte Coulet, French, 1736 - after 1771, ca. 1785
Engraving on paper
Print

Harbor view, with groups of fisherman on right and left bank; in foreground, three men casting their nets from a boat; in center, ships; buildings in distance. Inscribed: title, lower left, "K. Vernet" pinxit; lower right, "A.P. Coulet sculp."
Teaspoon with Engraved Arrow Decoration
, late 19th century
silver
spoon

Oval bowl, engraved with feathered arrow. Rounded terminal with flat stem engraved with arrow below incurved symmetrical arches.
Two Architectural Elevations of the Hermitage
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Two exterior elevations for a building featuring a dome topped with a cupola. An allegorical vignette in between the two elevations featuring figures and putti within clouds encircled by a ring with numbers and astrological signs. The plate is titled, signed, numbered, and dated.
Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Design for ornament, possibly for decoration within a pediment, along a semicircular base. Scrolling leaves, rosettes, fleurons, foliate scrolls, flowers, winged man with a beard holding a putto, a sphynx, masks, leaves, pediment with figures on the front, a putto on top holding a scythe and winged hourglass (representing time). The plate is signed.
Elevation of dining room entrance wall, Hotel Paroy, Paris
, 1772
Pen and ink, brush and watercolor, graphite on paper
Drawing

Closed folding doors and panels with festoons. The central panel shows a girl with a flower brasket on her head and a wreath in her left hand.
Design for a Dresser and Chair
, ca. 1800
Graphite, brush and watercolor on light green-gray paper
Drawing

Horizontal rectangle. At top, the right half of a plan for the chest of drawers with a graphite inscription. Below at left is the dresser seen from the front. Its upper drawer has laterally capitals supported by two winged female genii standing upon small balls beside the lower two drawers. Below is a vase. At right, chair seen from the front with red upholstery. The front legs have the shape of two curved and crossed cornucopias.
Trophy of Arms
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A trophy of arms with a shield in the center depicting a battle scene with soldiers on horseback, surrounded by shields, helmets, spears, banners, ribbons, and foliate branches. The plate is numbered. The publisher's address is lettered below.
Title Page
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Title page for a series of figure studies for the education of artists, printed in red ink in the crayon manner. The plate illustrates nine studies of eyes in different positions and from different angles. Instructions and descriptions are lettered in the upper center and the title is lettered in the lower center. The plate is numbered.
Design for a Brooch
, late 18th century
Pen and black ink, brush and gray wash on paper
Drawing

Jewelry design for a brooch. Two bows—one larger and one smaller, stacked upon one another. Both decorated with patterned bands of stones, S-curves, rhomboids, X's, and flowers. At center is a disk composed of concentric bands of scalloped stone petals with a central stone.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1582
Engraving on paper
Print

A pendant in the form of a ferocious sea monster perched on a strapwork base is suspended from a bow knot. The base is composed of faceted gems, a mask and dragons, and is hung with three drop pearls. Riding on the monster's back are Poseidon with a triton and two merman with bulrushes. The plate is numbered.
Menuiserie de la Bergere A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plans and profile design for the carpentry of the armchair depicted in 1921-6-331-41. The plate is signed and numbered.
Autre Developpement et Profil d'Entablement Composite avec Corniche à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of an entablature in the style of the Composite order. The plate is signed and numbered.
Corniche du Piedestal de l'Ordre Corinthien du Chapiteau Base et Piedestal
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design of a column with a Corinthian capital, divided to show details of the cornice, the shaft, the capital, and the pedestal. The plate is signed and numbered.
Overlooking Kingston, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing an elevated view overlooking the Kingston harbor and Liguanea Plain from either the estate of Galloway Hill or Flamstead. In foreground at left, a steep and layered mountain ridge extends obliquely into the middle distance. A rough slide is visible on the ridge's slope at lower center. Beyond, the flat plain occupied by the city of Kingston is visible, with a view of the curving shoreline at left. Tall mountains rise in the background.
Porte, dans le grand Appartement des Tuilleries
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Fourteenth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a double door from the Grand Apartment of the Tuileries Palace. The doors each have five ornamental panels and framed with egg and dart and wave running patterned borders. The panels feature heraldic devices, floral garlands, interlaced L's, fleurs-de-lys, shells, acanthus leaves, fleurons, military trophies featuring shields with an elephant and camel, cornucopias, ribbons, and rosettes. The locks are highly decorative with similar ornament. The plate is titled, signed, and numbered.
Ring
, 1850–1900
Gold, pearls

Circle of pearls set in gold band.
Design for Clock
Lefebvre Manufactory, Tournai, 1800–1825
Graphite, pen and black ink, brush and yellow, red watercolor on white laid paper
Drawing

Octagonal base supported by tapered feet. Front panel shows a relief of Hermes as shepherd, sleeping. Ram at left. Above, on dial, a peacock. A standing woman in profile at left. A pitcher at right. 

Inscriptions:
Below left, pen and brown ink: da pauvre du [o] m. No. 115 ehi / No. 261 (?) [crossed out]

Below center: Cooper Union stamp #457D
Arabesque Ornament Designs
Etienne de Lavallée, French, 1735 – 1802, 1788
Aquatint and etching on laid paper
Print

Two vertical arabesque ornament design featuring birds, foliage, flowers, fleurons, putti, a female figure with a basket of fruit on her head, a vase with handles and gadrooning, oval vignette with figures, and a crown of flowers. The plate is numbered and signed.
Design for a Console Table
, ca. 1820
Graphite, pen and bistre, brush, and watercolors on white laid paper
Drawing

A design for a console table showing front and left side elevations. The marble table top is supported by two legs in front designed to resemble lion chimaeras, with elaborately designed ornamental wings that curve back toward the rear supports. The frame is decorated with rosettes and palmettes. Below is the scale: Palmi Romani.

Verso: in graphite, sketch of the plan of a sparsely furnished room.
Tea Bowl and Saucer
Le Nove Porcelain Manufactory, Italian, established ca. 1727, ca. 1765
porcelain, vitreous enamel, gold
tea bowl and saucer

Decorated in red and gold, in outline of conventionalized petals. In center of saucer and inside tea bowl is a butterfly.
Trimming
, 19th century
silk Technique: supplementary warp pile on satin ground (velvet)

Red trimming fragment in a design of an angular stem with leaves and flowers.
Eyeglass case
, 19th century
silk, metallic thread, glass bead Technique: embroidered in tent stitch Label: Embroidered in tent stitch with silk, metallic thread, and glass beads

One side of an embroidered spectacle case with geometric and floral designs in polychrome silks. Edged with blue braid and fitted at the top with silk ribbon and a pink bead slide.
Console table
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for a console table.
Candlestick
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Vertical rectangle. Below is a circular base with three steps. Two sphinxes sit radially carrying a basket with flowers upon their heads from which a candle rises. In the center is a pedestal with a vase. In front of it is below a medallion with a bust portrait, above tow crossed horns which are supported by festoons. Each carries a candle. At the foot of teh vase are two birds supporting festoons. Another stands at the foot of the upper candle which rises from flowers. Framing dark brown stripe. Mounted and framed except above stripes fo gray blue paper.
Fragment
, ca. 1825
cotton Technique: printed on plain weave

Fragments shows two children in Classical dress; one holds two paintings while the other holds books. The words "Allégorie aux Arts" appears in the background.
Catafalque, with Coat-of-Arms of the Albani Family
Albani, 1995, mid- 17th–late 17th century
Pen and brown ink, blue wash, black chalk on white laid paper
Drawing

Two coats-of-arms of the Albani family shown at the pedestals of the obelisks: per fesse, lion passant beside a tree, beady six-and: a church under a comet upon mounts.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile on satin ground (velvet)

Red trimming fragment in a design of a serpentine stem with flowers and leaves.
Design for a Keyhole Escutcheon
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1615
Engraving on paper
Print

Design for a keyhole escutcheon featuring grotesque motifs including male winged figures with a lower half made up of scrolling leaves, a mascaron (mask), and a basket of fruit. The plate is signed and numbered.
Pharaoh's Palace, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 27, 1868
Graphite on light green wove paper; verso: graphite
Drawing

Architecture sketch showing a view of the ancient temple in Petra called Qasr al-Bint, known to the artist as the Pharaoh's Palace. Viewed obliquely from the east, the temple's ruinous facade still has numerous details intact, including an entablature with medallion or rosette decorations. The temple is roughly rectilinear in shape and has a mostly flat eastern facade. The foremost pier at center right is decorated with octagons carved inside of squares. Details of rosettes are visible at upper left. Other ruinous architectural elements in the background at right.

Verso: Landscape and figure sketch showing a view of Bedouin camp with a tent in front of a distant mountain in the deserts of present-day Israel. In the foreground at center, a pitched tent is incompletely rendered, two figures beside the opening at right. To the right of the tent, a fire and a seated camel are visible. In the background, a large, rugged, triangular mountain has craggy spires jutting out from its left slope, indicating the layers of rock strata that comprise the mountain. A dark camel stands on its right slope.
Doorway or Triumphal Arch Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a Classical triumphal arch decorated with fluted pilasters, rustication, military trophies, acanthus leaves, winged angles, festoons of laurel leaves, corbels, profile roundel portraits and topped by standing sculpted female figures. The plate is numbered.
Sidewall
, 1790–1800
Block printed on handmade paper

Horizontal rectangle, with beaded stripes of black and white set in diagonally-placed chevron bands to simulate light and shaded surfaces of square solids.
Fragments
, 17th century
silk Technique: plain weave with discontinuous supplementary weft floats (brocaded)

Lions and peacocks on a green ground.
Detail from a Frame or Molding Design
François Roumier, French, 16..–1748, 1750
Etching on paper
Print

Design for a corner detail of a frame or molding featuring scrolling leaves, acanthus leaves, diaper and flower pattern, beading, fleurons, fluting, gadrooning, shell motifs, and birds. The plate is numbered.
Lit à la Duchesse, orné de Sculptures et totalement fini
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a bed with a canopy. The bed is decorated with textiles patterned with stripes and waves. It is carved with bead course, guilloche, twisted ribbon, pinecone, fluting, and rosettes. It also has tassels and plumed feathers. The plate is signed and numbered.
Design for a Lighthouse
A. Le Canu, French, active 1746 – 1768, 1760–75
Etching and engraving on laid paper
Print

Design for a Neoclassical lighthouse in the form of a large obelisk with two flanking smaller ones. The central structure is ornamented with vermiculated horizontal branded rustication, large panels, and a garland of laurel leaves. The top of the tower is supported by corbels, with a flaming / smoking urn or vase framed by a trellised structure with a dome roof. The two smaller flanking obelisks are decorated with large, vermiculated panels with smoking urn or vase finials. Figures stand around the base, on the stairs leading to the central door, and at the balcony level. Clouds in the background and steps leading up to the lighthouse. A scale below the design. The plate is titled, numbered, and signed.
A Bavarian Peasant
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite on rough grey paper
Drawing

Bust portrait and profile of a middle aged peasant, the chest shown obliquely from the left, with head turned backwards to right shoulder.
Botanical Sketches along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing six views of plants along the Magdalena River in Colombia. At upper left, a treetop with flowers is shown; at upper center and center, a loosely rendered tree is visible atop a sketch of a wild plantain plant; at upper right, another treetop with flowers is hastily rendered; at lower left, tree branches hang off of a steep bank over the river's surface; and at lower right, feathery reeds growing along the river's shoreline are included.
Tie
, 19th century
silk Technique: bobbin lace, Chantilly style

Black silk tie with narrow neck section and wider oval motifs. Design of flowers and stems with leaves within conventionalized border.
Chair
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a high back side chair.