biglam/cooper-hewitt-alt-text huggingface dataset:
cricket cage and base
, late 19th century
Rattan, bamboo, lacquered wood (base); fiber, paper, silk, feathers (imitation insects)

Upright rectangular cage (a) with two parallels and concealed door; attached by small brads to black lacquered wood base (b) with cabriole legs set at angles.  Inside cage, imitation black beetle and winged insect (dragon fly?) attached to bars.
Printed Bookpaper
, 1750–1780
Printed bookpaper
Bookpaper

Printed bookpaper
Stage Design, Gothic Archway
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Gothic archway giving way to view of Gothic church in the background.
Waterfall between Vevey and Sion, Switzerland
Frederic Edwin Church, American, 1826–1900, August 24, 1868
Graphite on tan laid paper; verso: graphite
Drawing

Landscape sketch showing a view of a waterfall in the Rhone Valley, Switzerland. The water cascades in a vertical line down the sheer valley wall. A precipitous cliff is visible at right and arched stone bridge spans the stream at the base of the waterfall, at lower left.

Verso: Loose landscape sketch showing an oblique view of the Rhone Valley in Switzerland. In the foreground, a wooded hillside descends from left to right. In the middle distance, a craggy, serrated ridge is visible with three prominent peaks.
Design no. 866 for the Embroidery of the Lower Front Part of an Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A plant of Persian flowers and a garland of naturalistic flowers. Brown border strip with a row of plants. Parts of the garland and of the strip are upon a piece of paper pasted over a discarded suggestion. Numbered twice, in ink "866", one off the figures being preceded by "V (?) o".
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornament design of a hanging trophy framed by sprigs of flowers and leaves and a hanging festoon of flowers and leaves. The trophy includes a dead bird, hunting horn, bow, arrow, quiver of arrows, and net.
Woman With Hands Raised
Daniel Huntington, American, 1816–1906, 1844–45
Graphite, white chalk on grey wove paper
Drawing

Half-length sketch of a woman. Woman's bust and arms shown; arms raised overhead. Right hand repeated, upper left corner. Left hand repeated, upper right corner.
Stud and buttons
, 19th century
cut steel, wood and black glass

a/: stud of black glass with facetted top and two feet - b,c/:circular steel buttons with edge cut in scallops and in each scallop and in the center a facetted steel boss - d/: circular, flat wooden buttons decorated with carving and circular ornaments of cut steel - g/: circular button with ornament and rim of cut steel -h/: circular button of steel with facetted boss in center and others forming ring at edge with openwork section between - i/: button with brilliants [of two sized] set in three rings around central stone. For other objects from the original set accession numbered 1943-5-6-a/k, see also: 1943-5-6-e,f,j [deaccessioned], and 1943-5-6-k [deaccessioned].

Component -b is on Cooper Union Exhibition card 4
Component -c is on card 58
Component -d is on card 37
Components -g,-h are on card 64
Component -i is on card 19
Sarcophagus for the Relic
Luigi Righetti, Italian, 1780 - 1819, ca. 1825
Pen and brown ink, watercolor, over graphite Support: white laid paper
Drawing

Scale: in pen and brown ink, lower center, in palmi quattro Romani
Design for a Mansion
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Design for a Mansion
Design for a Bowl with a Stand
Joseph Anton Seethaler II, German, 1799–1868, 1827-1835
Pen and ink, brush and watercolor on paper
Drawing

A pedestal of complicated design showing a fruit festoon, with bearded masks and plant motifs, is supported by lotus blossoms. A big and short column is surrounded by girls holding a thyrsus in either hand. The capital is shaped like a basket.
One of a set of twelve projects for the decoration of wall panels, to be placed at a height. Preceded by a title page
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

Right side with an angel
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1582
Engraving on paper
Print

A pendant in the form of a sea monster perched on a strapwork base is suspended from a bow knot. The base is composed of faceted gems, a mask and griffins, and is hung with three drop pearls. Riding on the monster's back is a nude woman with a cloth and a merman with a shell. The plate is numbered.
Sampler
Julia Ann Nivers, American, 1823 - ?, 1833
silk embroidery on linen foundation Technique: embroidered in cross, satin, and eyelet stitches on plain weave foundation Label: linen embroidered with silk in cross, satin and eyelet stitches

Embroidered sampler with several bands of alphabets and numerals separated by narrow geometric borders, and an inscription.
In the lower half, a verse in two columns and a view of Crawford, New Hampshire; all within a stylized floral border. Embroidered in colored silks on a white linen ground.

The verse reads:
THE YOUNG AND GIDDY  Invited to Christ
Young sinners to counsel give ear
From Juvenile levity cease
The god of omnipotence fear
The fountain of wisdom and peace
The gospel illumines the way
To climes of extatic [sic] delight
Where storms never ruffle the day
And where it will never be night

Your pleasures are empty and vain
And can but a moment endure
They yield by confusion and pain
The soul to destruction allure
Why slight ye the Saviour o say
To save you he yielded his breath
The tempests of life he can lay
And cheer the lone valley of death
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Tracing, pen and ink, brush and gouache on paper
Drawing

Unfinished design for the bottome left corner of a man's waistcoat embroidery. Large plant palmette, upside down under the pocket. Left palmettes along the bottom edge, leaf scrolls along the rising edge.
Design for an Embroidered or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Top row: flower boughs with naturalistic and lace leaves. Bottom row: staggered boughs with a cone and hanging leaves.
Purse
, 19th century
silk, steel frame Technique: satin with tambour stitch embroidery

Steel-framed purse in red quilted satin embroidered on the border with a curlicue design in light gray. Two compartments inside and silk lining.
Versailles, the Marble Court of the Chateau, Festival Around the Fountain.
Jean Le Pautre, French, 1618–1682, 1676
Etching and engraving. Black ink on rolled paper.
Print

Horizontal rectangle:  At center, in a court of the chateau, a fountain is surrounded by a temporary structure and an octagonal banquet table.  Above the fountain, a victory column illuminated by candles.  Soldiers hold back a crowd on three sides.
Sketch of a Tree
Daniel Huntington, American, 1816–1906, September 1850
Graphite on paper
Drawing

Upper section of an evergreen tree. Verso: The wooded shore of a lake.
Coat of arms
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

An escutcheon with a crown on top, above two crossed branches with a mask above the crossing point. Two angels flow beside it, the left one blowing the trumpet, the right one raising the trumpet with his left hand, supporting the crown with his right one. Usual background.
ÉLEVATION D’UNE CHEMINÉE
A. Le Canu, French, active 1746 – 1768, 1768
Etching and engraving on laid paper
Print

Design for a neo-classical chimneypiece with a scale below. The mantel is decorated with fluting and a festoon of laurel leaves. The andirons in the fireplace are in the shape of obelisks topped with flames. The semi-circular overmantel mirror is framed by a bead course and egg and dart molding, with a festoon of flowers hanging across the upper section. A painted pastoral scene in a panel above the mirror with a male and female figure laying in a landscape. A candelabra on either side of the frame above the mantel. The plate is titled, signed, and numbered.
Sketches of Trees
Frederic Edwin Church, American, 1826–1900, 1855–70
Graphite on off-white wove paper
Drawing

Botanical sketch showing, at left, a group of three tall deciduous trees with lush, puffy canopies and, at right, the top of a dead tree, with several pointed and twisting branches.
Double Seat Chair Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double seated chair. The chair is covered in a striped fabric, and the chair construction is carved with leaves, a pinecone, rosettes, spiral fluting, and garland. The plate is signed.
The Hen and the Sailor
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Upper left, side profile of chicken with bonnet and umbrella under wing. Upper right, profile of sitting man cutting fabric with scissors. Both are on iceberg. Lower left, downing figure. Below, short story. Smiling sun in background.
Faust and Wagner
Hendrik Leys, Belgian, 1815 - 1869, 1869
Etching on tan paper
Print

Two men are seated in conversation under bare trees outside a city wall. Figures in outline in the background.
Embroidery sample
, late 18th–early 19th century
silk, paper Technique: embroidered on supplementary warp cut pile (velvet); in paper envelope

Green and white silk embroidery in a floral design on a purple ground.
Sidewall
, 1850–60
Block-printed

Two leaf sprigs, each composed of three leaves, printed in gold with black centers. Small leaf on stem is ribbed. Printed on matte gray ground.
Unfinished Design for the Embroidery of a Man's Waistcoat of Pattern No. 863 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on grayish paper
Drawing

Left bottom corner. Very slightly rising bottom edge. Flower festoons and flower boughs and plants rising from "S" slopes and spirals. Birds. Bottom center: a fruit bowl. Reverse, in opposite direction: fragment of an unfinished design, pencil, ink. Rows of perspectively shown rings alternating with dots.
Study for a maenad, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black, brown pastel crayon on tracing paper
Drawing

Sketch of a male figure raising both arms. Shown somewhat turned more in profile than in -a. The hands and the left forearm are not shown. Below is a scale in black.
Jupiter consoles an imploring goddess, probably Venus
Felice Giani, Italian, 1758–1823, 1796–98
Pencil, pen and black inks, brush and watercolors on paper
Drawing

Horizontal rectangle. Jupiter sits at right, the goddess at left beside him. He touches her chin. The eagle stands over him. Caption: '1'  in a hexagon in black chalk.
Study for "Portrait of Mrs. James Robb and her Three Children," Ogden Museum of Southern Art, New Orleans, LA
Thomas Sully, 1783 – 1872, 1844
Brush and oil paint on paperboard
Drawing

Vignette of a female figure holding a child.
Tsuba
, 17th century
Iron

At the center is the nakago-ana, an opening through which the sword passes. Surrounding this is the seppadai, a flat oval area that is migaki (burnished). On either side are ryō-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At left is sashi ura, the side which faces the blade, whose opening takes the hangetsu-kei (half moon) shape. Opposite is sashi omote, the side which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals
Birches and Evergreens on Pemadumcook Lake, Maine
Frederic Edwin Church, American, 1826–1900, October 3, 1878
Graphite on white wove paper
drawing

Landscape sketch showing a view of birches and evergreen trees on the shore of Pemadumcook Lake in Maine. The lake's surface extends from the foreground to the middle distance, where it encounters the shoreline, which is heavily covered with trees that form a kind of wall or united mass along the bank. The many trunks are represented as repetitious vertical lines. Dark evergreens visible at left.
Bag
, mid-19th century
glass beads, silk, bone Technique: beaded knitting

Knitted bag with colored glass beads in design of flowers and leaves with zigzag border on a dark purple ground. Finished at bottom with bead fringe and at top with a crocheted silk cord and carved bone bead; lined with chartreuse silk.
Sampler
Dorothy Meredith, late 18th century
silk embroidery, linen foundation Technique: solid cross-stitch on plain weave

Landscape with house, trees and horse-drawn coach in the distance; hunter, stag and bird on tree in the foreground.
Japanese Man
Robert Frederick Blum, American, 1857–1903, 1891–1892
Graphite on wove paper
Drawing

Bust length portrait of a Japanese man with cloth tied around his head.
Sconce and socket
, early 19th century
Tin, glass, pewter

(A1) circular concave reflector made of tin discs, arranged in red, painted frame under glass; flat piece of tin with nail hold at back. (A2) removable socket in crimped tray which fits into slide-in frame.  (B1) circular concave reflector made of pewter discs and triangles arranged in tin frame (painted red) under glass; flat tin piece at back with nail hole.  (B2) removable candle socket in crimped tray whhich fits into slide-in frame.
Campagna Fantasy
Frederic Edwin Church, American, 1826–1900, 1868–69
Brush and oil on tan paperboard
Drawing

Landscape sketch showing an imagined view of the Italian countryside with ancient ruins. Cast in dark shadow, the foreground includes a pair of trees that frame the scene at far left, beside the ruinous, stone remains of an arched doorway or window. Light falls on rolling, lush terrain in the middle distance and brightly illuminates another ruin at center right. In the background, large hills are visible at left and right, which frame a possibly snow-capped summit at center, which is tinted light blue by the thin veil of clouds in front of it. The sky above is filled with dark, stormy, and tumultuous clouds, especially at upper right.
Two Designs for Hand Fans
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

Two designs for hand fands or hand screens printed on the same plate, side-by-side. The fans or screes are slightly pear-shaped and feature rococo and chinoiserie motifs along the edges with faintly outlined figures in the center alongside architectural supports, plinths with vases. The ornament includes rosettes, leaves, water, acanthus leaves, bells, vases, birds, and flowers.
Study for the Memorial to Giovanni Domenico Milano, Duca di San Giorgio, in the Sacristy of S. Domenico Maggiore, Naples, Italy
Giacomo del Po, Italian, 1652 - 1726, ca. 1712
Brush and gray wash, graphite on paper
Drawing

Half-completed drawing for a memorial. At center, an oval portrait (of Giovanni Domenico Milano). Above, a figure playing trumpet, and at left a sitting figure with a staff. At the left border of the drawing, a figure stands with upraised arms on a thick baluster. A heavy curtain is suspended from above, forming the background for the completed part of the drawing.
Sidewall
, 1830–40
Block-printed

Vertical rectangle. Left portion, probably one-quarter of a complete width, showing acanthus rinceaux and a small portion of repeating bouquet of pink flowers.  Printed in red, blue, pink and green on cream ground.
Pot à Sucre
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Two objects: lower, double bowl made by large shells with lids, an X above a shield with stars and crown divides the bowls. Above, tureen with gourd-like appearance with shell-shaped lid and finial made of flowers. Foot is a shell. The plate is signed and numbered.
LE CHATEAU DE LERY
Adam Perelle, French, 1638 – 1695, ca. 1680
Etching on laid paper
Print

Bird's-eye view of the chateau of Lery within its landscape. Trees surrounding the building, within the chateau walls. Formal gardens in the foreground, with fountains, basins, parterre planting and lower level accessible with a double staircase. Figures throughout the grounds.
Design for a Monument Flanked by Fountains
, 1700
Pen and ink, brush and watercolor on paper
Drawing

Allegorical figures with trophies flank an obelisk with relief sculpture of trophies of warfare surrounding a blank escutcheon surmounted by a royal crown. The base of the monument has been left blank for inscription. Waterfalls at either side; trees in the background.
Decagonal Slop Bowl, from the Royal Collections of Saxony, Japanese Palace, Dresden
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1729–1731
hard paste porcelain, vitreous enamel
bowl

Deep, on simple cylindrical foot; brim turned out, with narrow vertical edge. Decorated with flowers, figures, and dogs, in Korean style.
Design for Part of a Wall or Ceiling Decoration: A Woman Dancer
, early 19th century
Pen and ink on paper, mounted
Drawing

In classical attire as are 1931-65-56 and -57, shown from the front, carrying a flower in the raised right hand. Framed by an ink line.
Figural Group of Cupids Representing Air, from a Group Called "The Elements" (One of a Pair)
Derby Porcelain Factory, English, established 1756, ca. 1790–1795
biscuit
figure

Two cherubs under a tree on a mound of ricks with clinging vegetation. Standing cherub at left sharpening an Arrowpoint on a grindstone. Seated cherub holds a torch in an upraised hand.
Developpement d'une autre Fenêtre Dorique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design and profile of a window decorated according to the Doric order and with a balcony. The plate is signed and numbered.
Five Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1625–1650
Pen and ink, brush and bistre on paper
Drawing

Five men, seen from behind. The figure at far left is shown barefoot and seated on a rock.
Five Ceiling Schemes
Felice Giani, Italian, 1758–1823, 1815–23
Pen and brown ink on laid paper
Drawing

Top: Oblong ceiling with three sections, framed by bands; entire panels of sections held by pair of crossed boughs. Second row: at left, oblong ceiling with shell motifs in corners, connected by rows of arches. Inner oblong undecorated. At right, oblong ceiling with inner square into which octagon inscribed. Segments with figures shown in corners.  Bottom left, oblong ceiling with richly decorated imaginary vaults and central oblong with landscape. Alternative suggestions made for schemes of decorations. Open arches alternatively suggested at bottom in opposite direction: oblong ceiling with inner square into which octagon inscribed. Segements with figures shown in corners. Caption at bottom: in opposite direction, "dedicat a romolo". Bottom right, oblong ceiling with row imaginary arches outside. Inside bands frame oblong. Partly sketched decorations. Figures inscribed. Written on top: "sogetto nasita di Romolo nelle lunette li fatti/ dei Romani neli triangoli sopra le lunette l'im' magini delli dei." At bottom: "cornice d'oro/ 2 tondo bianco rabesco colorito con animali e figure/ 3 rabesco di stucco con tutte la fascie di stucco/ 4 fondi azuri con figure colanti colorite/ 5 cornici doro/ 6 Lunette ("colorite" struck out) con quadri coloriti/ 7 fregio di stucco." Right part of oblong show at left.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs including garlands and scrolling acanthus leaves. The plate is numbered but not signed.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache, gold paint on paper
Drawing

On a light sea foam ground, dark blue and gold crown-like design composed of small spade shaped leaves and wings outlined in gold.
Tablecloth
, ca. 1700
linen Technique: damask

White warp and blue weft form a reversible design with a checkerboard outer border. Broad inner border has a vine with oak leaves and acorns. Symmetrical design of two horizontal repeats of central octagonal building and tree flanked by hunters, some with spears and muskets along with dogs, deer and rabbits.
Fragment
, 17th century
silk Technique: 4&1 harness satin damask

Conventionalized floral forms in cream damask
Drawing
Carlo Marchionni, Italian, 1702–1786, 1750–86
Graphite, brush and gray watercolor on cream laid paper

Below is an arch way. Ionic colums can be seen, only the tops. an eagle is positioned on the center of the arch. A man sits in the window above the arch.
Cartouche with Central Vignette
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a cartouche with an upper and lower compartment. The upper compartment contains a scene of figures in a rocky landscape: two standing on a rock, one in a body of water. The cartouche is comprised of ornament elements including mascaron, rosettes, floral garland, scroll, rinceaux, and fountains. The plate is signed and numbered.
POSE DE LA PREMIÈRE PIERRE DE LA NOUVELLE ÉGLISE DE STE. GENEVIÈVE
Saint-Aubin Gabriel de, French, 1724 – 1780, 1766
Etching and engraving on paper
Print

An oval medallion with a vignette celebrating the laying of the foundation stone of the new Church of Saint Genevieve on September 6th, 1764, accompanied by a detailed description lettered below. The medallion illustrates an ecclesiastical procession with spectators standing to the left, leading towards a building in the form of a classical temple, with other buildings in the background. The medallion is framed by flowers, leaves, a lamb, book, and casket. The plate is titled, numbered, and signed.
Table cover
, 17th century
silk on linen Technique: buttonhole and seed stitches on plain weave

Embroidered pattern of tightly compacted scrolling vines and flowers in red silk on a ground of white linen. Pattern forms a border around the edge of the square with additional ornament in each corner. Cover has a border of bobbin lace in the same silk as the embroidery.
Bed cover
, 19th century
linen, wool Technique: 10-harness float weave

Two lengths of woven fabric with a diamond lattice pattern using linen warp and dark blue wool weft joined by openwork crochet.
Pillowcover
, ca. 1900
cotton and linen on linen foundation Technique: satin, speckling, stem and buttonhole stitches on plain weave; cutwork with buttonhole stitches

Pillowcover with the Great Seal of the United States in the center and scrolling grotesques filling each corner. The unembroidered back cover closes with two buttonhole edges and a strip of tape with buttons on it that goes through the two layers of buttonholes. The front and back cover are joined to each other with a three centimeter wide band of filet lace insertion.
Sleeve
, 19th century
cotton, wool, metal Technique: satin, chain and half cross stitch embroidery

A solidly embroidered geometric pattern worked in olive green cotton decorates the top edge. The remainder is covered with a stylized floral and geometric repeat worked in brightly colored wools and metallic thread.
Flora's Retinue: Daisy
Walter Crane, English, 1845–1915, ca. 1891
linen warp, silk weft Technique: 4 & 1 satin damask
Doily

Small square doily, fringed on all sides, with an ivory linen warp and a gray-green silk weft. A figure of a woman dressed as a daisy with daisies surrounding her, and the word DAISY in the upper right corner, all appearing in ivory on a gray-green ground. A set of six, the doilies would have been used on the table as part of a dessert service.
Dyer's record book
Old Pacific Print Works, Lawrence, MA, USA, 1882–83
cardboard, paper, printed cotton samples Technique: printed on plain weave and sateen

Notebook with marbled cover containing 161 samples with recipes for printing. Mostly brightly colored floral patterns.