biglam/cooper-hewitt-alt-text huggingface dataset:
Portrait of Pietro Aretino (1492-1556)
Marc Antonio Raimondi, Italian, 1483 – 1527, 1517–1520
Engraving on paper
Print

Bust-length portrait, shown almost full-face, turned slightly to the left. He wears a hat which is tipped down over his right ear.
Three capitals of pillars, with alternative suggestions
Filippo Marchionni, Italian, 1732–1805, 1780–1800
Pen and black ink, brush and gray watercolor, graphite on off-white laid paper
Drawing

Three rows: above: two half figures, at left an owl, at right a dragon and a band motif. Center: in the center is a vase with, at left, a winged animal with two heads, the half figure of an eagle at right supporting a festoon hanging from a rosette, in the center of the cornice. Below: the head of a stag, in the center, and two fantastic birds supporting drapery festoons springing from a ring in the center. On verso: a leaf.
Portrait of a Man with Cap
, 1780–1820
Graphite, pen and black ink, brush and watercolor on paper
Drawing

Bust of a bearded man turning to the right. Above, at right, some pencil strokes.
Design for a Palace Gate
, 1800–30
Pen and ink, brush and wash on light brown paper
Drawing

Horizontal format. Steps are leading to an entrance pavilion giving access to a palace compound. Left and right of the pavilion is a wall made of bricks and stones. The pavilion is richly decorated with statues, reliefs, ornaments, and with pillars and columns in Corinthian style. Seen through the intercolumniation an obliquely placed garden terrace and part of the facade. The background is colored gray. Framing line and strip.
Grille de Sûreté
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a vertical grate set within a frame. The plate is signed and numbered.
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, trigger, and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, lions, cartouches, heraldry, birds, scrolling leaves (rinceaux), rosettes, and fleurons. The plate is numbered.
Designs for a Console Table and Wall Brackets
Nicolas Pineau, French, 1684-1754, mid- 18th century
Etching and engraving on laid paper
Print

A plate from a series of designs for console table legs, consoles for vases and wall brackets. A blank rectangle lower center, with a design for console table legs above ornamented with fleurons, c-and-scrolls, gadroon, acanthus leaves, strapwork, masks and floral motifs. The legs are supported by four female herms and two intertwined phoenixes. Lower left: a console for a vase, ornamented with rococo motifs, masks, c-and-s-scrolls, acanthus leaves and flowers. Lower right: a design for a wall bracket ornamented with masks, fleurons, c-and-s-scrolls, shells, rosettes, and garlands of flowers, supporting a vase in outline. The background is shaded with lines.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for friezes or panels. The plate features, from top to bottom: a grotesque plaform with a tall bird at the center, and owls on either side; a cartouche with a river god represented on it, and a putto with reigned dolphins; and a platform with books and leaves. The plate is signed and numbered.
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Collar of green cut and uncut velvet on yellow silk ground. Central symmetrical group of large leaves and the base of a flower.
Sheep Grazing
Winslow Homer, American, 1836–1910, 1878
Graphite on gray-green paper
Drawing

Recto: Horizontal view with the  upper portion showing the trunk of a chestnut tree with grazing sheep, and the lower portion showing a steep hillside with grazing sheep.
Pair of frames
, ca. 1745
Cast and gilt bronze

Each frame a horizontally oriented rectangle; cast decoration of rocaille scrolls ornamented with flowers and fruit.
Raccolta di teste
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, 1770–1774
Etching on laid paper
Print

Head of an old man in frontal view with his face bent downward. The big hat and beard leave only his nose visible from his face.
Figural Study
, 1825–50
Black and white crayon on brown paper
Drawing

The man is shown seated and turned toward right. The left foot stands higher than the right one and the right forearm leans leans upon the left thigh. The left arm is turned backward; verso: in opposite direction: three-quarter of a standing girl. The left hand lies upon the breast, the right one is lowered.
Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, possibly August–September 1852
Graphite and white gouache on tan wove paper
drawing

Landscape sketch showing a view of Mt. Katahdin in Maine from across a nearby body of water, whose surface stretches across the foreground before encountering the heavily wooded opposite shoreline. The body of water appears to be a relatively small pond. Beyond the shore, the terrain rises in the middle distance before giving way to the snow-strewn face of Mt. Katahdin. A low-lying bank of clouds obscures the mountain's peak, while another peak is visible behind it at left, while at right, the Katahdin ridge is visible.
Seated Woman (Motif for Design)
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

A nude figure is shown in profile from the right back, seated upon a chair on a platform. A column supporting an entablature rises behind her.
Elévation et Coupe de la Maison de Mr. V…commencée à bâtir sur l’emplacement du Pavillon du Roi à l’entrée du Bois de Verrières Par Villetard Archite
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with two exterior elevations and an interior sectional view of a house including columns, a frieze, and pediment with decorative paneling. The plate is titled, numbered, and signed
Park with Fountain and Statue
Hubert Robert, French, 1733 – 1808, 1788
Red crayon on paper
Drawing

In an exterior park or garden, a curved colonnaded wall at left, a large fountain at center, and a sculpture of a woman at left. In the middleground, two female figures, one seated with her hands in a muff. In the left background, an additional group of figures. Leafy trees and plants fill the landscape.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of gondolas and sailboats in Venice.
Piedestal[s] pour groupe
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for pedestals for multi-figure statues. The pedestals are decorated with egg and dart, bound leaf garland, lion head, a medallion with a scene of antiquity, egg and dart, lamb tongue, ribbon twist, mascaron, a plaque with faux script, and acanthus leaves. The plate is signed.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of eight-petal flowers separated by conventional ornaments.
Plate from "Frises, feuillages ou tritons marins, à la romaine"
Jean Le Pautre, French, 1618–1682, ca. 1640–1682
Etching on paper
Print

Plate from "Frises, feuillages ou tritons marins, à la romaine"
LA VILLE DE PARIS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of Paris from above, with the Pont Royal in the foreground, and the river Seine in the center - many boats, buildings lining the river, and figures on the bridge, in the streets, and in boats and carriages. Many buildings are numbered with a legend below. A section of the plate in the lower left is missing.
Design for Decorations for a Ceiling
Giuseppe Barberi, Italian, 1746–1809, ca. 1820
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Obverse: A square ceiling. In the center is moulded square frame from whose corners bands are stretching toward the corners of the room. For the resulting trapezoids are alternatuve decorations suggested. The upper trapezoid is spherical with half-circle below decorated with a band with bat wings. A decoration of the band is also suggested. In the center of the trapezoids are below a circular medallion with a figure, at right an ovoidal medallion in a cross form at left a lozenge with a figure. Verso: A rough sketch for a decoration with quatrefoils and a lozenge.
Overdoor
, 1825–30
Block-printed

Vertical rectangle, with portion of a lyre, ribbons and volutes, printed in cane color, with shading in warm red-orange and highlights in white.
Sidewall
Paul Balin, 1872
Block printed on embossed paper

Simulation of medieval textile. Eight-pointed figures enclosing griffins, set apart by foliated crosses with pointed arms. Paper embossed with simulation of weaving. Printed in browns, silver and gold, on brown ground.
Borders
, 17th or early 18th century
linen Technique: needle lace (commonly called Rosaline)

Venetian Rose point. Design similar to 1939-66-3 of scrolls with delicate palmettes and roselike forms.
Milieux de Traverses de Bordures Variés Differemment
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for three frame crossbars, decorated with ornament motifs including rinceaux, a shell with dolphin, snails, and branches, and a shell fountain with net and lobster. The plate is numbered.
Design for a Door Frame
Carlo Marchionni, Italian, 1702–1786, 1740–60
Pen and black ink, brush and gray wash on off-white laid paper
Drawing

On top are angular and a circular pediment. A shell in the field; upper corners of the molded frame are carved and raised with hanging garlands. Scale below. A paper scroll forms the upper section of the background.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper
Drawing

Detail of female figure's head in full size.
Sketch for an Unused Scene for a Cartoon for Cotton Printing: La Vie de Bélisaire
B. M. Lebert, 1759–1836, ca. 1820
Pen and ink, brush and gray wash on paper
Drawing

Sketch for one island for a cartoon for cotton printing, showing a blind soldier reclining before a cave, while before him stands another soldier saluting him. (Probably an unused island for a Belisarius subject; island showing the blind Belisarius being recognized by one of his soldiers.)
Design for a Coffee Urn
Joseph Anton Seethaler II, German, 1799–1868, ca. 1820–30
Pen and black ink, brush and gray, black wash, graphite on wove paper
Drawing

Urn-shaped. The spout is at left with fluid streaming from it. Smoke rises from the holes in the knob of the cover. Two pairs of entwined snakes form the two handles.
Portrait Study of Miss Elliott
Daniel Huntington, American, 1816–1906, May 15, 1841
Graphite on off-white wove paper
Drawing

Half-length study of a woman seated by a table, facing frontally. Her right hand is to her cheek, and her left hand holds a book in her lap.
Textile
, 1790–1800
cotton Technique: printed by engraved plate on plain weave

Design of birds on curving stems. IIn blue on white.
La Mort de Didon
Petitpierre et Cie, Nantes, France, 1770–1848, ca. 1790
cotton Technique: printed by engraved plate on plain weave
Textile

Scenes of people in classical dress illustrating a story from Virgil's Aeneid that inspired two operas in eighteenth-century France.  Aeneas leaves Troy in flames carrying his father Anchises in his arms, Aeneas abandons Dido who then kills herself, and Aeneas kills Turmus. In red on white.
Sampler
Sarah Yeakel, American, 1806
silk and cotton embroidery, linen foundation Technique: embroidered in cross, stem and rococo stitches on plain weave foundation

A house on top of a hill which rises to the right, with weeping willow trees and other trees, a fence, sheep, a peacock, flying birds and an alphabet; surrounded by an angular strawberry vine border.
Monumens de Paris
Hippolyte Le Bas, French, 1782–1867, ca. 1815
cotton Technique: printed by engraved roller on plain weave
Fragment

Four familiar scenes of Paris; statue of Henri IV on Pont Neuf, the Fountain of the Innocents, the Parthenon and the east front of the Louvre all shown in elaborate frames. In pale brown on white background.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Light brown warp with white and blue weft, white and gold color weft, and white and dark pink weft.
Fragment
, 18th century
silk, metallic Technique: plain weave patterned by supplementary warp floats and supplementary weft floats

Detatched motifs on ribbed red silk ground.
Fragment
, 18th century
silk Technique: plain weave with continuous and discontinuous supplementary weft floats

Floral sprays on patterned white ground. A selvage present.
Textile
, late 19th century
silk embroidery, silk foundation Technique: embroidered on plain weave with overtwisted yarns (crêpe)

Left front of bodice, cut on the bias, of black crepe embroidered with black silk in close serpentines of cherry blossoms and stems.
Band
, 700–1000
cotton, wool Technique: slit tapestry

Five tapestry-woven strips stitched together with highly stylized snake design in tan and dark brown on red background.
Fringe
, 16th century
silk Technique: plain weave

Red fringe with a heading, looped skirt threads and red tufts.
Arethusa Pursued by Alpheus in a Wooded Landscape
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

In a wooded landscape, the nude Arthusa is seen fleeing from the nude Alpheus who emerges from a stream in the foreground.
Design for a Playing Card: King of Diamonds
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

A French king upon a Gothic throne.
Shawl fragment
, 19th century
wool Technique: twill weave with supplementary weft

Multi-colored wools brocaded on black wool twill ground in a crudely rendered small-scale floral and bird pattern. Probably machine woven.
Tassel
, late 16th–early 17th century
linen Technique: knotted

Long narrow tassel with many tiny cross arms formed from knots. End is fan shaped.
Sketch of Seated Figure
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Figure sitting, shoulders facing frontally, face shown in profile looking up to the right.
Part of a Flower Container
, ca. 1740
porcelain (possibly soft paste), vitreous enamel, gold
container

In two steps, the lower pierced with two circular openings in its upper surface, and curving in ogee forward and to right and left. Upper step pierced with two smaller circular openings in front and in top, and unglazed at sides. Decoration of gilded bands, perching birds, and butterflies.
Fringe
, 17th century
silk Technique: woven

Pink and yellow fringe with a plain-woven heading. Skirt threads are arranged to form stripes.
The Entombment
Martin Schongauer, German, 1450–1491, ca. 1485
Engraving on laid paper
Print

The Disciples place the body of Christ in the tomb. One of them, left, supports Him about the waist; another, right, holds the legs. In the foreground, St. John is on his knees, his back to the viewer. He places his arm about the Virgin, who is standing beside him.
Fringe
, 16th century
silk Technique: soumak weave

Pink and white fringe with a soumak heading and skirt threads arranged to form stripes.
Decoration Project: Six Tondi with Sacrificial Gods and Two Victories
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink, brush with brown wash over cream laid paper
Drawing

Horizontal rectangle. Top row: 1: The chariot of Victory races toward left. She raises a wreath with her left hand. Written as in -3475 ''vitori/l/Giove (struck out) and ''vittoria.'' 2: Janus and Peace. A woman is standing in the central foreground and igniting a panoply, at right. Written:GIANO/Minerva (struckout) 2'' and ''Giano e Pace.'' 3: A girl carrying a cornucopia toward left, where a statue of Hercules stands beside an altar. Written: ''Ercole/3,'' and ''Ercole e ninfa.'' 4: History. The figure of a woman stands before the statue of Minerva and writes. A candelabrum stands at left. Written:''Minerva/Giove***'' (struck out) ''6'' and ''Minerva e storia. '' 5: A woman carries a panoply toward left, where an altar stands and a statue of Jupiter, the Thunderer. Written: Giove/vi-torie''??? (struck out)/''7,'' and ''Giove Feretro.''*** Bottom row: 1: The chariot of Victoria, stretching out her left arm and carrying in her left hand a wreath, races toward right.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 17th century
linen Technique: needle lace
Fragment

Corner fragment of flat lace in a floral design. Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Covered Vase with Grotesq
Benigno Bossi, Italian, 1727 – 1792, 1764
Etching Support: white laid paper
Print

A melon shaped vase on Three Stone steps with flowers and branches. The vase has a laurel wreath as its only base, the lid is conceived as the back of a tortoise or turtle with three semi-faces visible below, consisting of nose, open mouth and stylized beards. Vines issuing*** from the right and left mouths serve as handles The body of scales and shells.
Mount
, ca. 1700
bronze (gilt), gold

In form of cartouche, with shaped outline.
Drawing
George E Germer, 1868 – 1936, 1910–1915
Pencil. Brown paper

Each shows the teapot with the handle at right, on top, the cream pot with the
handle at left, bottom left, the two-handled and covered sugar bowl, bottom
right. The handles of the cream pots and augar bowls are forked on top.
Reverse: blackened for tracing. More richly decorated ,·with mouldings and yegetable motif. "42" aaA.
Textile
, ca. 1790
cotton Technique: block printed on plain weave

Length of printed cotton with vertical stripes of tan and yellow alternating with stripes curved leaves in red and blue on a white ground.
Qui Me Neglige Me Pert
, ca. 1700
Scissor-cut vellum, oil
Decoupage

Small rectangular painting on vellum, showing an orange tree in a tub set in a flowered landscape, is imposed on a silhouette cut-out showing curtains, doves, rampant lions and a crown.  The whole attached to a pink paper ground with escolloped edges.  Gilt paper and paint outline the various members of the cut-out.
Collar
, late 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Round collar with six circular medallions, each enclosing a flower. Border of highly conventionalized flower and leaf design.
Cap crown
, early 18th century
linen Technique: bobbin lace, Honiton style

Cap crown with elaborate symmetrical floral motif. Honiton style, very similar to Brussels lace.
Page from Ackermann's "Repository of the Arts, Science etc,"
, 1810
e.) paper, cotton, silk Technique: e.) printed and glazed plain weave; plain weave with weft-float patterning; cut-pile weave

Component "e" is a page from Ackermann's Repository, January 1810. Page contains printed graphics and three textile swatches: two wovens and one printed.
Design for Round Dining Table on Carved Bracket Feet
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Round molded top raised on plain columnar support with concentric molding around bottom, sitting atop "X"-shaped molded base terminating in 4 carved bracket feet with acanthus-leaf decorations.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design in square in yellows with C-scrolls at center.
Textile
, 1770–90
linen warp, cotton weft Technique: block printed on plain weave foundation

An alternation of two different stripes; one an hour-glass shape enclosing a windmill, the other a floral vine. The hour-glass shape in in straight repeat, the floral vine is half-drop. In black, red and blue on white.
Textile
, ca. 1840
cotton Technique: printed by engraved roller on plain weave

Three scenes of people fishing divided by a diamond lattice of foliage. In brown on white.
Sidewall and border
, ca. 1790
Block-printed on handmade paper

Arabesque with 2 birds (doves?) and floral baskets (roses?), with another layer of rainbow or irise wallpaper below and linen lining.  Printed in polychrome with gray-blue ground.
No. 104
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, cut and polished
Finger bowl

Mouth-blown crystal, deeply-cut and polished
knife
, ca. 1880
metal, silver plate, celluloid

Large fish serving knife with wide saber-shaped blade and ivory handle. Blade of curving saber-shape with pointed tip, with rounded cutting edge scalloped top edge. Blade decorated with pierced spiral foliate pattern, surrounded by engraved scrolling foliate and floral pattern, interspersed with dotted band border. Reverse side lacks engraved decoration surrounding pierced spirals. On both sides, line border following shape of scalloped edge. Silver ferrule decorated with scrolling vine and floral pattern on stippled ground, connecting to ivory handle. Terminal of rounded fan-shape and decorated with dense floral pattern.
Cruet
, ca. 1810
glass, copper, silver
cruet

Pear-shaped body, cut with drapery swags and flat vertical flutes; flat circular foot; silver-plated cap with perforations
Embroidered picture
, 19th century
wool embroidery on punched paper foundation Technique: embroidered

Panel of perforated white paper embroidered in colored wool with the words: "Glaube Liebe Hoffnung." At center is a heart, cross and anchor. Vine and foliage.
Porcelain Flowers
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1800
hard paste porcelain, vitreous enamel
flowers

Clustered roses with buds and leaves.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Molded, square tile, white clay; impressed on reverse with inscription: "J. & J.G. Low, Patent Art Tile, Works, Chelsea, Mass. U.S.A." Face of tile impressed with all-over pattern of stylized daisies deep, honey-brown glaze.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Mirror image of scroll anthemions alternating with heart-like motifs over jagged frame with acanthus shape. Printed in turquoise, rose, light blue on cream beige ground. Two borders printed across the width.
Tassel
, 17th century
linen Technique: braided and knotted

Tiny tassel of linen, braided and knotted. Single loop, attached to short stem and terminating in a round center from which hang clusters of knotted elements.
The Entombment, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, ca. 1509–11
Woodcut on off-white laid paper
Print

The body of Christ is placed in the tomb, in the foreground. The Marys and Saint John are behind the tomb, at left, the Virgin standing with Saint John. Monogram of Dürer, lower left.
Pitcher
Wedgwood, English, established 1759, ca. 1879
Glazed earthenware (“majolica”)

Ovoid jug, tapered inward toward circular foot and toward lip. Body moldedwith pattern of upright Japanese fans, joined at lip, and alternating with prunus branches and birds. Ground is white, fans green-brown, with poly- chrome flowers and birds. Molded applied handle in the form of a branch. Interior glazed turquoise. Underside of base glazed white.
Waistcoat
, 1750–70
silk, metal-wrapped threads with silk core, metallic sequins Technique: four metallic gold yarns couched on silk plain weave moiré; sequins sewn on; couching has been done over paper padding

Metallic gold threads and sequins embroidered on pink moiré foundation.
Fragment
, 16th–17th century
linen Technique: withdrawn element work

Fragment in a geometric snowflake-like pattern.