biglam/cooper-hewitt-alt-text huggingface dataset:
Mausoleum
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Scene set within a multi-level mausoleum. The burial space is divided into four, each space with a tomb fronted by a winged skull and topped by candles and a smoking vase. There are groups of figures gathered and socializing on a heavily draped upper level, as well as on the ground floor. The plate is signed.
Three Mausoleums
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Top: the section of the central building flanked by colonnades. The interior of the building is divided into two stories, the lower one including the rooms below the staircase. The pyramids rise above the side ends of the colonnades. Center: the elevation of the central building flanked by pryamids. Colonnades have taken the place of the porticoes. Bottom: a rough plan of the building providing only for two rings.
Fragments
, ca. 1246
silk and metallic yarns Technique: slit tapestry

Fragments of tapestry roundels and borders from a plain cloth garment, some of which is still visible at the edges of these decorations.  The fragments show portions of birds, mythological animals, arabesqued and pearled borders, human figures in turbans and flowing garments, horses, and serpents; in blue, green, several shades of tan, terra cotta (once red), brown and cream against tarnished and worn gold background.  The remains of an inscription appear on the border of one roundel.  
a) Section of a horizontal band of medium-sized linked roundels with narrow pearl borders containing (from left to right) a strutting bird with uptilted head and a banner waving backward from its beak; a prancing winged mythological beast; and a man seated cross-legged with his head turned to the right and his right hand raised (left third only of this roundel remaining). Paired and single heart-shaped palmettes fill the interstices of the roundels. Bands above and below the linked roundels contain sections of double-guilloche interlacing, each section terminating at either end in an arabesque; these guilloche sections alternate with paired heart-shapes containing fleur-de-lys.  Narrow pearled band within guard strips borders main band at top and bottom.  Below the lower pearled border is a fragment of tapestry showing the tops of two fragmentary, large-sale palmettes.  A faded fragment of the red cloth ground in which the border was originally set.
c)  Section of border showing part of one roundel, apparently from the same border as (a), with the same guard borders and interstitial fillings. This roundel section contains a turbaned man seated with crossed legs, his head turned to his left, wearing apparently full trousers and full upper garment figured with crosses.   
e)  Section of roundel showing a turbaned man in right profile on back of galloping horse, the man's scarves flying behind him, with a coiling snake under the horse's hoofs.  
f)  Section of roundel, including a broad framing band with an Arabic inscription and a portion of the cloth ground into which these were set.  The roundel shows a turbaned man in left profile with his arms outstretched n front of him, narrow scarves flowing behind.  The text (as translated by Florence Day) reads:  "There is no god but Allah" (fragmentary repeat, written normally and in reverse).
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, putti, fruit, scrolling leaves (rinceaux), cartouche, rosettes, and fleurons. The plate is numbered.
Chimney
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a chimney.
Man
Robert Frederick Blum, American, 1857–1903, 1881–1882
Graphite on wove paper
Drawing

Three sketches of a male figure wearing a hat.
Design for a Buckle
, mid- 18th century
Red crayon on paper
Drawing

Sketchy design for a belt buckle. Light round gems disposed in the corners and in the middle of the sides of an oblong, are connected with their neighboring gems by a scroll.
Textile samples
American Print Works, founded 1835, 1870s
cotton Technique: printed on plain weave

White fabric printed in a design showing a repeating motif of a hat with a rolled brim and flower.
Design for Three Chairs
Jean Démosthène Dugourc, French, 1749–1825, 1790
Brush and watercolor, pen and black ink, graphite on white laid paper. Ruled borders in pen and black ink.
Drawing

Left: Side chair, upholstered in blue. Elongated back splat with lyre-form configuration as back rest.  Fluted rails and legs. 
Center: Same description as above upholstered in green. 
Right: Same description as above, upholstered in blue.
Fragment
, 15th century
silk Technique: two fabric structures; 2/1 twill and plain weave (lampas)

Eight pointed stars in white on blue background.
Pomme de Coureur
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for metal cane handles. The handle at left has acanthus leaf ornamentation on top and fluting with ornamented channels where it joins the cane. The handle at right also has acanthus leaf ornamentation on top, a band of bound leaves, lancet leaves with bead detailing, bead course, fluting, and lamb tongue ornamentation. The plate is signed and numbered.
Military Trophy after Polidoro da Caravaggio
Polidoro da Caravaggio, Italian, 1499 - 1543, 1775–1800
Pencil, pen, brush and sepia, brown ink on paper
Drawing

Horizontal rectangle showing a design for a military trophy. At center, a helmet in the antique style with a feathered crest. Below are two large shields and clusters of spears. At left, an eagle headed ewer; at right, a ram's head.
Design for a Woven or Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1800
Brush and black gouache, incised lines on glazed tracing paper
Drawing

A palmette plant is alternatively shown downward and upright, the motifs being connected by leaf scrolls.
La Franche Comté Conquise pour la Seconde Fois (Franche-Comté Conquered for the Second Time)
Charles-Nicolas Cochin the elder, French, 1688–1754, ca. 1681–84
Engraving on paper
Print

Within a decorative interior wall panel, figural scene depicting the battle for the territory of la Franche Comté, showing France conquering the region from Spain. The figure of King Louis XIV stands victorious and immobile on rocks wearing elaborate armor at left. Grieving women in the lower part of the composition represent the conquered cities of the region. Mars, God of War, drags them to the foreground; he carries their coats of arms identifying the cities the women represent. In the background, Hercules and Minerva climb a rock symbolizing the citadel of Besançon. Engraving after a painting by Charles Le Brun at the palace of Versailles.
Heathen Sacrifice, after Perino del Vaga
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and sepia wash on off white laid paper
Drawing

A group of figures gather around an alter with books, trumpets and firewood.
Cartouche with Fountain and Building
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving and etching on laid paper
Bound print

Large rocaille formation with building in the background on right. Formation contains water, putti, plants, bow and arrows, and grapevines, leading up to sky where a trellis-like ornament rests with hanging putti.
COQUETIERS
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

the dish and a decorative border. The plate is titled, signed, and numbered. 
Six designs for egg cups with Empire style motifs including a chicken with chicks, figures embracing, eggs, geometric patterns, fleurons, wheat, leaves, florets, rosettes, scrolling leaves (rinceaux), and foliate scrolls. The plate is titled, signed, and numbered.
Town gate
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, red ink on off-white laid paper, lined
Drawing

Rustic pilasters support the entablature. An escutcheon before a kind of attic on top. Crenellated towers laterally.
Relief; Glory of the sacrament; console table
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Top: a) upon a pedestal, showing the Easter lamb in its front panel, two angels, one kneeling, the other one standing. They carry the globe, on top of which two cherubim support the chalice, above which the Host appears, being the center of a glory of rays. Beside the pedestal are suggested: at left, an angel kneeling upon a volute, worshipping; at right: two angels holding a candlestick with five candles. Bottom: b) The left corner of the top and top of the left leg are shown. A female mask in a drapery carries an Ionic capital. It supports an entablature. Colored background.
Four Women With a Boy
Francesco Bartolozzi, Italian, active England, 1727–1815, 1764
Engraving in brown ink on beige paper
Print

Four women before a curtain. The Child standing at the left, one woman (far left) supporting him, another, pointing to him with both hands. Below, the artist' names and place and date.
Monument Designs
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Two plates printed on a single sheet illustrating monuments and sculpted architectural details including vases and plinths. The monuments feature columns, obelisks, sculpted figures, cartouches, basins, vases, mascarons (masks), festoons, rustication. The designs are surrounded by trees and foliage. The plates are signed, numbered, and dated.
Design for a Table with a Vase at its Base
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a rectangular, six-legged side table with a censer at its base. The table is decorated with ornament motifs including wave pattern, ribbon twist, bound leaf garland, and beading. The plate is signed.
Lit a dome en Chaire a precher a quatre colonnes vû par le pied
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Design for a bed (side view) with a crown canopy (baldachin) supported by two poles, on the side of the bed, projecting from the wall. The head and footboards are the same height. The canopy and bed posts are topped with feather finials. The bed curtains are tied back to the poles. The boards are upholstered with embroidered fabrics decorated with floral designs and draped fabric, tied with ribbons. A scale below. The plate is titled, numbered, and signed.
Stage Design, Group of Antique Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Group of pedestals, monuments, stairs, portico with arches.
Hommage Champètre
François Boucher, French, 1703–1770, 1740
Etching and engraving on white laid paper
Print

One of five panel designs for a folding screen. The other designs in the series include Rocaille (Rock Garden) etched by Charles Nicolas Cochin ; and Triomphe de Pomone (Triumph of Pomona); Léda; and Triomphe de Priape (Triumph of Priapus) all etched by Claude Duflos the Younger. Vertical panel design with a pagoda motif, top center, an architectural ruin showing the capital of a column, an urn, a broken column, interspersed with garlands and leaves. In the central scene a young man is about to lay a wreath of flowers upon the head of a young woman who is reclining amongst bushes, leaves, and branches. Two putti appear below.
Title Page
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Title page with the title lettered on a cartouche or monument framed by putti, seahorses, cartouche, spears with flags, torches, quivers of arrows, mascaron (mask), festoons of leaves, fluting, diaper pattern, palmette, scrolling leaves (rinceaux), dragon, vase, topped with an incense burner. The plate is signed.
Coconut Palm, Two Views
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on tan wove paper
Drawing

Botanical study showing two views of the upper portion of a coconut palm tree in Colombia or Ecuador. Below, the tree sways in the wind as its fronds are blown from left to right. Above, the tree stands upright with fronds unmoving, as the gable of a domestic structure is visible half-way down trunk.
Panneau avec Porte vitrée
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for wall panels with a door at center. The door has glass in the upper two thirds: four rectangular planes and hemicycle plane at top. The panels are decorated with ornament motifs including a relief of a vase filled with flowers, garland, ribbon, egg and dart band, floral garland, and rosettes. The plate is signed.
Design for a Waistcoat
, 1780-1790
Pencil and various gouaches on paper
Drawing

Design for the embroidery of the left bottom part of a man's waistcoat. The waistoat and the pocket are brown edged. The decoration consists of flower boughs; roses and tulips are included.
Navette, Manche de Couteau, Boëtes de Montre, Boucle &c.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for a metal knife handle, shuttle, pocket watch case, and buckles. The knife handle is decorated with acanthus leaf, fluting, and wave band ornamentation. The oval shuttle is decorated with bead course and a rosette at its center. The watch case at upper right is shown in elevation and profile; it is encircled by floral ornamentation and has a basket of flowers depicted in the center. There are two buckles at bottom right. The one at the left is decorated with bead course and a central rosette; the one at right has a frame of bead course at sight edge and floral, leaf, and bead course at back edge. The plate is signed and numbered.
William E. Dodge Seated
Daniel Huntington, American, 1816–1906, 1884
Graphite on buff wove paper
Drawing

Three-quarter view of male figure, seated in armchair, with papers in right hand. Facing towards left.
Fragment
, 17th century
silk: Technique:

Lions and diagonal bars in blue and gold.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1581
Engraving on paper
Print

A cruciform pendant suspended by a jeweled string from a small ornament tied to a bow knot. Strapwork forms a cartouche with three drop pearls. At top, Apollo and his lyre flanked by two seated women and griffins. The plate is numbered.
Fragment
, 17th century
silk, metallic thread Technique: plain compound weave

Incomplete design of decorative leaves, crown, and palmette in metallic gold on green background.
Sampler
O.T.M., 1782
silk and metal wrapped-silk thread embroidery, silk foundation Technique: satin, stem, split, knot, and bullion stitches on plain weave

A vase of flowers and the inscription "O.T.M. Alumna da Escola de N S do Terço e Caridade 13-2-82" (Alumna of the School of Our Lady of Charity)
The Elevation of a Sepulchral Monument, Probably for the Young Pretender Charles Edward Stuart
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on paper
Drawing

Probably for the Young Pretender Charles Edward Stuart who died in 1788. Above is the elevation, below is the plan. Standing in a niche with a vault (?). A variation of the design 1938-88-1264. One section of steps leads up. Female figures stand upon the lateral pedestals. Only the sarcophagus at the front is repeated. No lamps are above the entablature. The figure on top is similar to that in 1938-88-1650. Colored background beside the upper design.
Roses and Fuchsias
, ca. 1880
Etching on dark tan paper
Print

A bunch of wild roses and fuchsias, with the stems gathered in the lower right corner.
A Trophy of Weapons Intended to be Executed in Painting
, 1830–1850
Black crayon, pen and dark ink, brush and grey water color on paper
Drawing

An upright insignia with "S.P.Q.R", with a pennon on the left with "S.R.Q" and another on the right with "R.R."
Two Frame Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two rectangular frame designs, arranged horizontally on the page. The sight edge of the frame on the left has a bead and bar course, followed by fluted cove, and then gadrooning and leaves at the back edge. The top of the frame has a lunette with a shell within it, and branches of leaves extending beyond the border of the frame. On top of each corner is a pinecone final. The bottom of the frame has a garland of roses, tied at the center with a ribbon. The frame on the right has a lamb's tongue and dart back edge, fluted cove interior, and a running bead and leaf sight edge. The top of the frame has a lunette at the center, into which is carved a ribbon with a garland of roses. Small, lidded vases are carved on top of the frame, at either corner. The bottom of the frame has pedestal feet at either corner. The plate is signed and numbered.
Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Atmosphere and landscape sketch showing a view of clouds at sunset over a the Catskill Mountains, as seen from the artist's estate near Hudson, New York. Vibrant peach- and cream-colored clouds are illuminated by the light of the setting sun, while others remain in shadow, deep purple. Sky behind them is articulated in a gradient from yellow-green to a deep aquamarine. Loosely-rendered ridgeline visible in lower portion with upper branches of a tree visible in immediate foreground at lower right.
Clouds above a Rolling Landscape, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, August and October 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view clouds above a rolling landscape in or near Hartford, Connecticut. A low and heavily wooded ridge stretches across the foreground, with a structure faintly rendered at lower center. Several groups of wispy and puffy clouds hang in the sky above the landscape and dominate the view. 

Recto: Mixed sketches from Catskill, New York, showing a view of a seated cow from behind, at upper center, and at right, a sailboat with its sails unfurled.
Voltaire
Enoch Wood, English, 1759 - 1840, late 18th century
Glazed and enameled earthenware
bust

On ivory-colored ceramic base bearing name "Voltaire," is bust of Voltaire in long powdered wig with head turned slightly to his right. He wears a rose coat open to show rose-dotted waistcoat and white cravat ends. Around the figure and covering its left shoulder is a gray-lined yellow shawl with small brown pattern.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The architectural setting is a niche with a rectangular plan, and with an arch above an entablature. The framing parts of the columns are drawn. The pavement of the niche is in the height of the upper edges of the bases of the columns. Upon it stand upon separate bases the sarcophagus and two crowned women (Jusice or Royalty), the left one with what seems to be the sword, and support a cloth hanging in front of the sarcophagus. Above is a pedestal, upon which a winged female (Victory) putto sits at left, and a putto kneels at right, supporting together the oval medallion with the bust portrait. On top is a variation of the motif in 1938-88-1345, with a wreath instead of the crown.
Stage Design for the Interior of a Crypt
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

View into crypt-like building, stairs entering from the back.
Plan et Elevation d'une Porte pour une maison de campagne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of an entryway for a country estate, decorated with garland draped over the large entry and carved cornucopia crossed under a coat of arms at the top. The plate is signed.
Design for a Woven Fabric, Unfinished Fragment
, 1815–1840
Brush and gouache, black paint on oily tracing paper
Drawing

Plants, the right of which is outlined with white, grow beside the lower parts of the two supports of a tent-like netted canopy the point of which is surrounded by five crowns of diminishing diameters. A bunch of flowers upon a double row of scallops, at the bottom.
Military Vignettes
Victor Vincent Adam, French, 1801 – 1866, 1830–1840
Pen and ink, brush and brown and black wash on paper
Drawing

Artillery soldiers drawing canon; an Arab figure resting; soldiers at rest; card playing. Vignettes shown in three ranges.
Saturn
Girolamo Scarselli, Italian, active c. 1670, ca. 1670
Black ink on paper
Print

Vertical etching of Saturn, shown nude with a long beard and carrying  a scythe, is seated on a cloud, facing half-left.
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white, yellow, and orange gouache on glazed tracing paper pasted on paper
Drawing

A flower bough is shown over leaf bough and fringe festoons. Tasseled cords hold the festoons. Two repeats are shown.
Design for Three Iron Grates
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three iron grates featuring ornament motifs including mascaron, rosettes, and scrolls. The plate is signed.
Button
, late 19th century
Mother-of-pearl

Component -n is on Cooper Union Exhibition card 8
Round buttons, dark, with incised star-shaped design. Two holes for sewing.
Design for a Door Frame
Carlo Marchionni, Italian, 1702–1786, ca. 1775
Black crayon, black wash, graphite on paper
Drawing

An inscription tablet from which two garlands are suspended in front of the top part of the door frame. The over door is formed by a niche between two low cornices; bust of a pope. Two reading men in the doorway, a third one slightly sketched at left.
Reconciliation of Enemies in Italy by the Emperor Henry VII
, 1825–50
Graphite, brush and bistre on paper
Drawing

In a big crowded hall, the Emperor sits enthroned upon in the center. In the foreground at left and at right are two groups of men expressing their readiness for reconciliation. Three framing lines, in the inner framing strip below, inside which the caption is written, in ink: "Carlo VII. Imperatore in Italia per sedare le fazioni che dividevanla."
Design for Embroidered or Woven Motifs of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Top right: a hanging fantastical flower. Left center: a flower bough as in 1920-36-147. Bottom, left: a fantastical flower. Center:a bough as in 1920-36-147. Bottom row, right: a bough with lace leaves and small blossoms.
Panel
, late 18th–early 19th century
silk Technique: painted with tempera

Pale blue ground with vertical series of landscapes painted in polychrome tempera. At bottom, spotted deer beneath blossoming apple tree. Next two pieces have been joined together leaving an incomplete design of breakwater with another group immediately above it. The next group shows two men talking in a field, one man holding a hoe. Man, woman and child walk toward first two. A natural rocky bridge runs to next group: a water carrier, farmer and ox on a bridge. Above bridge, a house compound beside a great rock with several figures in front of the house. At top, an incomplete group with houses under a great cliff near water. A water carrier and a man with a hoe walk toward houses. Left edge and bottom have blue and white trim