biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Buffet
Pierre Cottart, French, ca. 1630 – 1701, ca.1680–1703
Etching and engraving on laid paper
Print

Design for an interior wall elevation featuring a large buffet set into the wall and framed by paneling. The buffet consists of a large central arched niche with four bracketed shelves, with a console table at the dado level, flanked by two smaller arched niches also recessed into the walls, with three shelves. The central buffet has a large tureen on the bottom shelf and a clock on the top shelf. The side buffets include smaller wall fountains with mask heads as the water source. The paneling, dado, and cornice levels feature rococo ornament, c-scrolls, fleurons, acanthus leaves, beading, masks, diaper pattern, vases, and masks. A set of double doors to the right decorated with ornamental paneling, and a large frame to the left of the buffet, decorated with the same ornament and motifs. A scale below. The plate is titled and signed.
Ornament
, ca. 1820
Block-printed on handmade paper

Figures of a cow and a milkmaid, on blue field.
Desseins D'Agraffes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Second state of designs for cane handles decorated with scrolls and cartouches. as well as corners of panels. See 1921-6-285-100.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, fruit, baskets, bird, jugs, bottles, hat, bagpipe or musette, lute, sticks, and glasses. The plate is numbered.
Diana and Callisto, Dining Room, Palazzo Rasponi, Ravenna
Felice Giani, Italian, 1758–1823, 1817
Pen and brown ink, brush and brown wash over black chalk on cream-colored rolled paper
Drawing

Diana seated in left middle distance, points at Callisto, who appears uncovered by three girls. More girls appear in foreground and middle distance along with two dogs. Situated under trees with distant view into valley, scene suggests rest after hunt. Verso: two pen sketches for girls, crouching one and lying one.  Inscribed above: Camera di pranzo casa/ Rasponi Ravenna.
Standing Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Standing nude female figure, turned slightly toward left; head turned slightly to right, looking downward.
Petits Trumeaux de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Sixth 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 numbered sections of ornamental panelling between doors or windows in the Gallery of Apollo at the Louvre. The panels are ornamented with grotesque and arabesque motifs, including strapwork, fleurons, rosettes, masks, acanthus leaves, shells, cupids, mythological figures, arms and armor, globes, trophies, attributes of Mercury, crowns, cornucopias, incense burners, and cartouches. The plate is titled, signed, and numbered.
Design for a Silk Brocade, Fragment
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

A fantastical flower stem rises undulated, its movement being continued by a flower bough.
Hercules Hurls Lichas into the Sea
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink over traces of black chalk on light blue paper
Drawing

Altar shown in background. Sea at left. Scared nymph shown.
A Roman Emperor Meeting a Soldier
Agostino Veneziano, Italian, ca. 1490 - after 1536, ca. 1520
Engraving on paper
Print

An emperor on a horse, facing left. A soldier in front of him, his head turned right. In left foreground, an old man in side view, and a soldier on horseback facing right. Behind these figures, soldiers; in mid-distance, part of a castle and a wall.
Jerusalem from the Mount of Olives, Part One
Frederic Edwin Church, American, 1826–1900, March–April 1868
Brush and oil paint, pen and black ink, graphite on off-white paperboard
Drawing

Landscape study showing a view of Jerusalem from the Mount of Olives. A loosely rendered, grassy hill extends across the foreground and hosts a solitary figure in draped clothing at lower center, standing beside three olive trees. At left, the facade and dome of what is likely Dominus Flevit Church is left largely unrendered. Across a dark green declivity in the middle distance (which hosts the Garden of Gethsemane), the walls of Jerusalem rise abruptly, with the Temple Mount prominently visible at right. The Al-Aqsa Mosque beside is also visible, in the middle distance at center. An amalgamated mass of buildings that comprise the city extend into the background at right, while rural, rolling countryside is visible at left. The sun shines through the thick atmosphere at upper right, illuminating the sky in a light orange glow.
Fragment de la Loggia dans la cour de l'Hopital, Pisa
Whitney Warren Jr., American, 1864–1943, October 4, 1890
Graphite, brush and watercolor on paper
Drawing

Part of a two-story building with arches and pilasters; wall painted yellow with a red roof.
Basket of Blooms on Earth
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Basket of Blooms on Earth
Design for Two Chairs
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, pen and black ink, graphite on white laid paper
Drawing

Left, armchair in curule style characterized by x-shaped front legs, terminating in goat hoofs.  Armrests in form of coiled snakes, backrest sloped.  Upholstered in blue and white, classical motifs. Right, side chair, circular back supported by busts of Harpies, with center palmette. Legs in form of goat legs, goat head at knee of chair. Upholstered in blue and white, medallion on back of chair showing classical winged figures.
Sketch of a Man Carrying a Basket, Mexico
Frederic Edwin Church, American, 1826–1900, probably 1890–93
Graphite on white wove paper
Drawing

Figure sketch of a man carrying a basket on his back in Mexico. Facing us in a three-quarters turn, this man smiles towards us with his left hand on his hip as he wears a beret-type cap. The handle of a large basket is looped over his head and rests on his shoulders, turning the basket into a kind of backpack of sorts. He appears to wear suspenders, but his loosely rendered and largely indistinct.
Floral Ornament Design
Gabriel Huquier, French, 1695–1772, 1738–49
Etching on laid paper
Bound print

Third plate from a series of twelve designs for rococo ornament by Huquier. The design incorporates chinoiserie elements and is made up of flowers, c-scrolls, branches with leaves and flowers, fretwork, a staff, and ribbon. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Elevation d'une maison de 7 toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a house of three floors decorated with garlands, columns with Corinthian capitals, and large stone masonry. The house is described as 7 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Porte-Cochère Design
Laurent Francart, French, active 1681-1690, 1707-1742
Etching and engraving on laid paper
Print

Design for a porte-cochère, adorned with wood carvings of shells and masks supporting baskets and garlands of leaves. The plate is numbered but not signed.
Below the Whirlpool, Niagara Falls, New York
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite and white gouache on light brown wove paper
Drawing

Landscape sketch showing a view of the Niagara River near the Whirlpool, downstream from Niagara Falls themselves. The river's churning water, highlighted in white gouache, extends from the foreground, through the middle distance, and into the background. Also extending from foreground to background are the steep, wooded banks and cliffsides that hem-in the river at right and left. These cliffs converge and overlap in the background, creating a rugged horizon line due to the dense treetops.
Bottle Cooler
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, ca. 1800
hard paste porcelain, vitreous enamel, gold
bottle cooler

Cylindrical, rounded at bottom and having a cylindrical foot; two outcurving foliate handles on sides. Decorated with brown simulation of wood graining, with reserve rectangular panel decorated in black with simulation of landscape print.
Hillside at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 1870
Oil on tan paperboard
Drawing

Landscape sketch showing a view of a hillside--possibly Long Hill, where the artist built his estate known as Olana--in Hudson, New York at sunset. The foreground and middle distance are comprised of the grassy, sloping hillside which ascends from left to right to a rounded summit at far right. A stand of trees follows the contour of hill's gentle slope. In the background at left, a summit in the Catskill Escarpment is rendered in a bluish-grey, and possibly represents Windham High Peak. The sky above is rendered in a gradient from light blue to golden yellow, as small groups of light and wispy clouds are illuminated by the light of the setting sun. The low lying clouds shown at center are tinged pinkish-orange.
Plate
William Ridgway & Co., Staffordshire, England, 1830 - 1848, ca. 1843
porcelain or earthenware, vitreous enamel
plate

Plate d: white plate with central transfer-printed decoration showing view from Ruggles House, Newburgh.
Fragmentary medallion
, 5th–6th century
linen, wool Technique: slit tapestry with supplementary weft wrapping

Red medallion with four human figures.
Study of a Willow, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, 1855–56
Graphite, white chalk, black crayon on green-grey paper
Drawing

Study of a willow, between a fence and a road, with chickens beneath it. A house and mountains sketched at left.
Figure Study for "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1844–45
Graphite, white chalk on cream wove paper
Drawing

Figure study of a nude man, seated, praying, with his body turned to the left and face sketched in left profile.
Edging
, late 16th–early 17th century
linen Technique: needle lace (punto in aria)

Edging of needle lace has a deeply scalloped edge with a tri-lobed motif on top of each scallop. Rows of small squares are below, each containing alternately, a star shape made from four triangles and a wheel shape segmented by radiating lines.
Band
, 16th–17th century
linen, silk Technique: discontinuous supplementary weft patterning (brocaded) in plain weave foundation

Compound weave. Discontinuous supplementary wefts in a plain weave foundation.
Designs for Ornament and Roundels
Pierre Bourdon, French, ca. 1656 – 1708 after, after 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, an oval, and a band decorated with grotesque motifs (intertwining scrolling leaves, foliage, human and animal forms), with mascarons (masks), flowers, strapwork, and cartouches. The plate is signed and numbered.
Fragment
Jean-Baptiste Huët, French, 1745–1811, ca. 1785
cotton Technique: printed and painted on plain weave

Fragment shows a figure representing America standing before two figures representing France. An angel on a cloud floats above playing a trumpet. On the ground is a horse looking in the direction of the angel. The bodies sit on foliage.
The English Gamekeeper
John Crossley & Sons Ltd, English, 1850–1869, 1859–1869
Materials: worsted threads on linen Technique: adhesive Label: worsted threads adhered to linen ground
Carpet panel from a firescreen

"Mosaic" carpet sample. Worsted threads glued on linen backing showing a game-keeper in a round-brimmed hat, leaning against a ladder over a hedge with a bag slung over his shoulder, a pile of game at his feet, two hounds beside him; after Richard Ansdell.
Neptune, ou la maitrise des mers
Petitpierre et Cie, Nantes, France, 1770–1848, ca. 1795
cotton Technique: printed by engraved copper plate on plain weave
Textile

Assortment of maritime and patriotic scenes as well as a Chinese pavilion. Neptune in a chariot gives orders to Mercury and Pallas Athena. A child holding a book titles "Nouvelle Loi" (new Law) stands beside them. There is a scene apparently granting freedom to three slaves which may coincide with the first abolition of slavery in 1794. In red on white.
Fragment
A .G. Jennings & Sons, American, ca. 1884
silk Technique: machine made lace

Net ground with scattered ornaments and a floral border.
Unidentified subject
Martin Van Heemskerk, Netherlandish, 1498 - 1574, ca. 1550
Engraving on off-white laid paper
Print

A king, divested of his robes and crown, kneels on a parapet. Before him, a figure takes leave of him, while a multitude prostrate themselves on the ground about. Below a Latin inscription: "Divinam Ille Nino..."
Buttons
, 19th century
brass and steel

brass buttons with cut steel knobs set in wheel-shaped ornaments.

Components a,c are on card 64
Fishing Boats on the Seashore
Walter Clark, American, 1848–1917, 1884
Graphite on paper
Drawing

The boats are shown in the center. The sea is shown at right.
Lit en niche, from Nouveau desseins de Lambris inventees par le Sr Pineau architecte
Nicolas Pineau, French, 1684-1754, ca. 1727
Engraving on white laid paper
Print

Vertical rectangle. A bedroom niche with a bed. High headboard in rocaille pattern with scalloped canopy. Upper part of niche frame with rich rocaille carving. Panel at left also with rocaille design; panel at right undecorated.
Fragments
, 17th century
silk Technique: 4&1 satin plus 1/4 twill

Large roundel with acanthus foliage in yellow on green.
Base and Overdoor
, ca. 1675
Pen and gray-brown ink, gray wash Support: White laid paper
Drawing

Horizontal format. At left the base. The right part is shown. Supported by lion foot. A harpy with fish tail kneels at the corner. An escutcheon is in the center, crowned by a mark and diadem. Half-figure of a harpy forms left part of frame. Another kneels besides the escutcheon, at right. Brackels of different designs are at the sides.
Fragment
, 1100–1400
wool, cotton Technique: plain weave with discontinuous and interlocked warps and wefts Label: wool and cotton plain weave with discontinuous, interlocked warps and wefts

Fragment of a woven tunic with interlocked step patterns in brown and pink.
Penelope
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and yellow and white gouache, pen and red ink, graphite on brown board
Drawing

A woman at a loom, framed with a formal border of Hellenic motifs.
Design for Portion of Stairway in Chateau-sur-Mer, Newport, Rhode Island
Charles Salagnad, French, 1872
Brush and ink and watercolor, graphite on paper
Drawing

Horizontal rectangle. East wall on second story, showing large opening with segmental arch. Decorative scheme of panelled wainscoting surmounted with a simulation of tapestry by painted sacking.
Scissors and case
, 1850–1890
Steel, leather, ceramic

A)Simple steel scissors with sharply-pointed matching blades, oval loopholes. B) Crudely hand-sewn black leather case with ceramic button.
Study for "Titian Showing
Daniel Huntington, American, 1816–1906, 1872
Graphite, White Chalk Support: Brown Wove Paper
Drawing

Vertical rectangle. Woman seated on a bench, facing away to the left. Her head not shown; her left hand at her shoulder, repeated, upper left.
Grotesques
Hieronymous Bosch, Netherlandish, 1450 – 1516, 1550–1575
Pen and ink on paper
Drawing

Vertical format. Twenty-one grotesque beings, eight of whom are united in four groups, are disposed in six rows. Two grotesquely-shaped tree trunks flank the sixth row. One of the trunks shows an animal's head, a bearded mask grows on the other.
Drawing
Felice Giani, Italian, 1758–1823, 1820
Pen and gray-brown ink. Light purplish grey wash over black chalk. Paper

Personification of Peace. Seated upon a chair and leaning the left arm upon the back. toward which the head is turned. The left leg is crossed over the right leg. The left hand holds a laurel branch, the right hand a caduceus. A niche is.
Simon Carrying the Cross
, 1840s
Wood engraving on paper
Print

He is preceded by the Lord who is driven by a soldier.
Fragments
, mid-18th century
silk Technique: plain weave with supplementary weft

Light blue taffeta ground with incomplete design of white ribbon serpentine with minute polychrome flowers scattered over it. Spray of larger flowers across serpentine at regular intervals. Small-scale landscape with two pagodas under trees, brocaded in white; small dots and zigzags in ground fabric. Component a: has part of right selvage present  - flower pot with dwarf tree above landscape.
Fishing Boats
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Sketchbook drawing of fishing boats. The lake at right, the shore with fishing boats drawn up in the foreground. High mountains beyond.
measuring device
, early 19th century
wood, yew

A silver-metal sphere upon which is fixed a rod marked with twelve equal numbered gradations. The vase-form screw-top case is fruitwood lined with black velvet. a= metal sphere b= bottom case c= top case???
Edge
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Floral garland edged by undulating leaf pattern.
Fragment
, possibly 17th century
linen on linen Technique: cross stitch embroidery on plain weave

Geometric designs forming an allover pattern. In blue on a white ground. Border design of tiny trees.
Landscape with a Waterfall
Wenceslaus Hollar, Bohemian (active England),1607–1677, 1648
Etching on paper
Print

In a wooded landscape, a plank bridge spans a low waterfall. In the right foreground, a large tree, beyond which is a church steeple and figures in a rowboat.
Fragment
, mid-19th century
silk Technique: bobbin lace

Open flowers form scalloped edge above which rise leaf sprays.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: woven with supplementary weft patterning (brocaded)

Eight fragments sewn together to form a panel showing ‘Bizarre' style motifs which include a vase with pink flowers and a spiral column. Rich use of gold and silver with limited brocaded silk colors. Red-orange foundation fabric limited to linear details or small areas of background.
Sidewall
, 1890–1900
Machine-printed

A continuous flowering vine of lilacs and sprays of grain.  To the left is a vertical band with disks containing a quatrefoil motif and fine parallel vertical lines running over surface of band.
Button
, late 19th century
brass with colored enamel

circular button; central ornament composed of three scrolls filled with red, pink and white enamel; surrounded by rim; the intermediate sections being cut out.

Component -p is on Cooper Union Exhibition card 8
Album of Ornamental Trophy Designs
Henri Sallembier, French, ca. 1753 - 1820, 1775–80
Album

Album of ornamental trophy and arabesque designs featuring vignettes of attributes often within clouds or within a suggested landscape after designs by Henri Sallembier and etched in the crayon manner in red ink under the direction of and published by Louis-Marin Bonnet.
Tassel
, 17th century
linen Technique: braided and knotted

White linen tassel teardrop-shaped base that is braided over. From the top of the core hang knotted elements of varying lengths. A cluster of knotted elements also hangs from the bottom center of the core.
Plate
, ca. 1763
Tin-glazed earthenware

Octagonal form with fluted rim with thick dark green border; center decorated with three Callot-style figures and foliage in green and ochre on white ground.
Textile
, ca. 1780
cotton Technique: relief printed on plain weave

Twising columns with a trophy of flowers in the center. In three shades of red on white.
Design for Serving Table with Straight Reeded Legs
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Oblong top with convex front; raised on 4 straight legs; reeded front legs terminate in balls, which are decorated at tops with short carved baluster-like elements; 2 rectangular shelves attach below, the lower one just above floor level; backsplash.
Carving Fork with Antler Handle and Boar's Head Terminal
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, 1900
steel, antler, silver
fork

Large carving fork with two elongated tapering tines. Y-shaped hinged rest attached below tines on neck. When folded out, v-shape folds down to meet surface an provide stability when resting in face down position. Folds in to reverse of tines when not in use. 
Banded silver ferrule, silver collar with blade. Highly decorated relief floral, acorn and oak leaf pattern silver collar wrapping cylindrical antler stem. Capped with silver collar of similar oak and acorn pattern, terminating in boar's head, fit with red glass eyes, and exaggerated snarl.
Creamer and lid
Imperial Porcelain Manufactory, St. Petersburg, Russia, 1767–70
Porcelain

The creamer is a pyriform body on short foot.  Short spout below rim, and strap handle.  Painted on one side the Russian two-headed eagle with St. George in a shield, in black, red and blue.  On other side, monogram of Catherine II, crowned in laurel wreath in gold.  Gold wreath and band around rim, gilt handle.  Cover is fitted with a flower knob and laurel wreath in gold.
Firescreen
, 1790–1820
Hand-painted on paper

a) In the foreground stands a column on pedestal, with 2 groupings fo trees. In the background is a small village; b) In the foreground is a house of water mill, running stream with bridge. In the background are hills, trees and more buildings.
Birds on Lattice
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Birds about to take flight, on a lattice background, resemble seagulls (kamome) which are commonly found on the coastline of Japan. Silk threads are added to support the stencil structure.
Stage Design: Ringstadten Castle, for the Last Scene of Undine
Karl Friedrich Schinkel, German, 1781–1841, 1816
Colored acquatint
Print

Horizontal rectangle. A large castle is seen on a promentory in a lake, approached by a fortified bridge. A barren mountain in the backgrond. Below, artists' and publisher's names and the title: "BURG RINGSTADTEN / in der letzten Scene der Oper Undine"
Wall Decoration, Domus Aurea, Rome
Vincenzo Brenna, Italian, 1745 – 1820, 1776–77
Brush and gouache, watercolor, over etching trimmed to the plate mark
Print

Design for a wall decoration.  View of red colored wall with grotesques above a rendering of a marble wall with inlaid squares and circles. Grotesque motif consists of open framework compartments surmounted with figures at left and right and draped material at center.
Jar and cover
, possibly 19th century
Bronze, inlaid metal

Footed jar (a) cast in two parts with encircling banding covering the joint.  Wide, short, straight neck.  Stepped lid (b) overhangs the neck, rises through curves to tall finial with two knobs topped by a ball.  The whole decorated with concentric bandings of inlaid white and brass-colored triangles, elipses, dots, S-curves, etc.
Textile
, 1785–90
cotton Technique: printed by engraved copper plate

1958-8-3-c: Three pieces have been stiched together to complet...;     T1958-8-3-c: Three pieces have been stiched together to complet...
Frieze
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper

Alternating large and medium floral medallions. Large medallions have foliate wreaths framed by striated scrolls. Medium medallions have rose wreaths with a trellis interior encricled by foliate scrolls. The medallions are connected by large rose swags and foliate scroll swags that culminate in scallops with pendants. The bottom has monocromatic floral bunches and brattishing pattern. Top has scrolls and trellis pattern. Background is a grid of vertical dashes and dots on a ground that shades from light green to grey (bottom to top). Printed in browns, greens, pinks, light yellow and white. Printed in top selvedge: "G.W.P. Co." pattern number  "1350".