biglam/cooper-hewitt-alt-text huggingface dataset:
View of a Monastery Receiving Visit from Great People
Carlo Marchionni, Italian, 1702–1786, 1770–86
Black chalk, brush and gray-black watercolor on cream laid paper
Drawing

Horizontal rectangle.The buildings of the monastery are in the middle ground upon a terrace of a hill sloping down to the foreground. There is a wall with the gateway, where a guard and a group of monks stand. Monks and soldiers are on the road connecting the gateways, outer and inner, in front of the church. One of the soldiers busies himself to chase two fighting dogs.  A coach drawn by four horses, preceded by a courier, approaches from right. A family sits inside. Another coach with two horses follows. At left are groups of figures.Trees flank the scene, composition surrounded by two framing border lines.
Fragment
, 18th century
silk Technique: damask

Length of blue silk has a pattern of large leafy blossoms and flowers buds in a light blue shade.
Side View of a Mounted Officer
Winslow Homer, American, 1836–1910, 1862
Graphite on off-white wove paper
Drawing

Almost three-quarters view of mounted officer seen from the right rear in foreground and at right background a slight sketch of the head and shoulders of the same figure, seen from the front.
Surrender of Cornwallis
, 1805–15
Block-printed on handmade paper, pasteboard support
Bandbox

Lid only. A military scene is portrayed. A regiment of marching soldiers with officers mounted on horses. One officer on a rearing horse has a Napoleonic shaped hat. Another officer on horseback holds a shako in his hand. A canon carriage is on the field. One regiment has a flag that apparently is that of the young U.S. The drop edge is yellow and the scene is in shades of brown, off-white. "Surrender of Cornwallis" is the title.
Stage Design, Antique Building wiht Vaults
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and bistre ink on paper
Drawing

Horizontal rectangle. Entrance to antique building with porticoes and stairs, coffered ceiling, sculptures of lions flanking the entrance.
Bracket
, 1780
wood, gilded

Bracket fragment, portion of a console, with laurel and acanthus decoration.
Botanical Sketches from the Rio Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, April–May 1853
Graphite on gray-blue wove paper
Drawing

Botanical sketches showing seven views of trees and vegetation along the banks of the Magdalena River in Colombia. At the upper left, a dark mass of trees with large canopies and other vegetation is shown long the river; at upper right: two sketches of treetops are visible; at center left, another dark grove of trees is included, while two sketches of trees and treetops are situated at center and center right. Along the lower margin, an extended, horizontal view of a densely wooded bank is included.
Ornamental Vase Design
Charles Leviez, French, 1708–1778, 1756-1773
Etching on laid paper
Print

Vase with a narrow mouth. A siren sits on either side of the vase with head turned toward the right. At the center of the vase is a large, stylized shell that merges with drapery. The vase has a tall, tapered foot, with scalloped detail. The vase is elevated on a low, square plinth. The plate is not signed or numbered.
Le Jeu de Tric-Trac [The Game of Tric-Trac]
Johann Jakob Haid, German, 1704 - 1767, 18th century
Silk brocade with details of paper painted in gouache; engraving on paper.
Decoupage

Textile picture combined with an engraving "Le Jeu de Tric-Trac" (The Game of Tric-Trac) showing lady and gentleman playing game at card table while two other gentlemen look on. Costumes, etc., formed by brocades; heads, hands, etc., by paper painted in gouache. Verse in French and in German.
Button
, 1800–1850
steel

1931-59-307-a: circular, flat button with bevelled edges ornament...
Cooper Union Museum Lace Study Card
Cooper Union Museum, late 18th century
linen Technique: bobbin lace
Fragment

Lace fragment in a border design of a vine with blossoms and leaves turning off alternately to the left or right. Tiny palmette design along edge. Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Cayambe, Ecuador
Frederic Edwin Church, American, 1826–1900, June 24, 1857
Oil and graphite on tan paperboard
Drawing

A part of a church stands at left upon an elevation.  A gate is shown beneath it.  A man in a red coat approaches the gate.  View across the valley to snow covered peaks rising over the clouds. Study.

Landscape study showing a view of the snow-capped volcano known as Cayambe in Ecuador. In the foreground, a figure wearing a red coat stands in front of a gate or shrine in the form of an arch. Beside it at right, a shallow stream winds around the ruddy terrain while a dense grove of green trees is visible across it at center right. At left, a colonial Spanish church is prominently situated on an abrupt hill and overlooks the landscape below it. It features a square belltower with two windows and a entry way with stairs. Visible in the background, beyond rugged hills in the middle distance, the snow-capped peak of Cayambe is seemingly bisected by a long cloud bank in front of it. Above the cloud, the peak has a rosy-golden tinge, while below it, the snow is colored a distinct shade of light blue, indicating that this section of the mountain is in shadow. More clouds are shown at right while the sky itself is a gradient from blue-green to grayish red.
Design for a Brooch
, early 19th century
Pen and ink, brush and sepia wash on light brown paper
Drawing

Jewelry design for a brooch. A round diamond is framed by scrolls, forming something like three clips, supporting upon their cusps a small round and in their intervals a big pea-like diamond.
Design for a Wallpaper or Textile
, 1815–1840
Brush and purple gouache on thick white laid paper
Drawing

A neo-Rococo escutcheon composed of scrolls, rocaille and plant motifs. Intended to be connected in a vertical row by scrolls with leaves and a bunch of seeds. Verso: Blotter of a crayon sketch of an escutcheon; graphite lines.
Pitcher
John Turner, Lane End, Staffordshire, England, 1759 - 1780, ca. 1780
Unglazed stoneware (“black basalt”)

Elliptical in plan, with large lip and strap handle. Relief decoration: guilloche wit fleuron about shoulder, fluting at base, mourning woman and dog at eat side. Glazed on inside. Vertical mold marks on each end.
Fragment
, 1800–1850
silk Technique: cut voided supplementary warp pile (velvet) in a plain weave foundation with continuous supplementary weft

Panels with a coral ground and diaper pattern in extra white silk weft. Velvet design arranged in vertical broad bands of angular serpentine with large tulip blossoms and rosettes in coral and green, coral and yellow, coral and white, and coral and blue.
Samson and Delilah
Heinrich Aldegrever, German, 1502 - ca. 1561, 1528
Engraving on paper
Print

Circular composition. The figures are shown three-quarter length. Delilah is seated, cutting Samson's hair, his right arm resting across her knees. Samson holds the jawbone of an ass in his left hand. Monogram of Aldegrever and date "1528" on tablet, upper right.
Sidewall
, ca. 1860
Block-printed

Vertical strip framed in three separate sections. Border a rod-like shoot of vegetation, surrounded by cream ground. Field within border blue, with scrolls and garlands; medallions in two upper section, birds in bottom section.
Developpement d'une Porte Ionique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for a door decorated in the Ionic order and with bands of lamb tongue, wave pattern, and rosette ornament. The plate is signed and numbered.
The Birth and Naming of John the Baptist [above]; John the Baptist Preaching in the Wilderness [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto, above: In a bedchamber near a hearth, women bathe the infant John the Baptist. In the background at right, his father Zechariah, seated at a desk, writes John's name in a book. In the background at right, John's mother Elizabeth rests in bed. 
Recto, below: Nighttime scene with St. John preaching in a glen. He stands at right, with many listeners siting before him.
Verso, above: On the bank of a river, St. John the Baptist stands to the left. He raises a cup over the head of Christ, who stands at center. 
Verso, below: Elizabeth and Mary greet one another within an arcaded space. They stand in the center foreground, with several figures surrounding them.
Study for a procession, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on tracing paper mounted to board
Drawing

Sketch of male and female figures in procession through an arcade with columns and pedestals. Some measureents are inscribed, oblongs alternating with circles are shown below the picture.
Differents Vases de Table
Clément Pierre Marillier, French, 1740 – 1808, 1763
Etching and engraving on paper
Print

Designs for vases. The plate is damaged with a large part of the center right of the image missing. The vases feature different motifs, shapes, and ornament including mascarons (masks), festoons of leaves, figures, fluting, gadrooning, and egg motifs. The plate is titled.
Plate 86 from Nouveau livre de serrurerie (New Book of Locksmith's Designs)
Pierre Soubeyran, Swiss, 1709 - 1775, 1750–1775
Engraving on paper
Print

At center, detail of an espagnolette (locking device) between two ornamental iron gates. Below, a foundry scene enacted by putti. 

Inscribed labels: 
A)	Espagnolettes por fermer les croisées
B)	Agraffes de l'Espagnolette 
C)	Main de l' Espagnolette
D)	Verouils de l' Espagnolette
Trimming
, ca. 1830
silk

1909-2-1/232: Light red hardcover sample book with blue pages ha...;     1909-2-1: Dark orange trimming fragment in a design of open ...
Fragment
, 17th century
silk Technique: 4&1 satin damask

Diagonal logs sprouting leaves.
The Holy Family
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

The Virgin is sitting upon a dado, the Child sitting beside her, at left, and leaning upon her right leg. The Virgin, in the attire of about 1500, holds branches in her right hand. Below, at left, is a basket with fruit. Joseph is sitting at right, in the middle ground. Landscape background. Framing lines. Some parts of outline deeply impressed.
Project for a Fountain
, ca. 1620
Black chalk, pen and ink, brush and watercolor on paper
Drawing

A fountain composed of pairs of figures, from top to bottom: putti, dolphins, mermaids, swans. Water flows from a vase-shaped finial.
Ornament Design with a Heraldic Achievement
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

An ornament design featuring a lion mask, scrolling foliage, acanthus leaves and rosettes. To the left a heraldic or armorial achievement with a blank coat of arms, with a warrior's helmet on top, and framed by scrolling foliage. The plate is numbered and signed.
Dark Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, April 1892
Graphite on beige wove paper
Drawing

Landscape sketch showing a view of a dark mountain range in Mexico. Flat, unrendered terrain comprises the foreground and middle distance, while in the background, a rugged mountain range stretches across the horizon at center and left. Heavily shaded, the range includes a sharp peak at center and a rounded mountain at left. The view of the base of the mountains at right softens due to mist.
Galerie métallique des grands hommes français (Great Men of France)
Raymond Gayrard, French, 1777 - 1858, 1819
Cast bronze
Medal

Bust of Henri de La Tour d'Auvergne, Vicomte de Turenne (1611-1675).
Renaissance Monument in Benedictine Church, Fecamp, Normandy
Auguste-Pierre Sainte-Marie Famin, French, 1776 – 1859, 1798
Pen and black ink, brush and gray, brown wash on paper
Drawing

Elevation of a Reniassance monument.  The monument is a vertical rectangle.  The lowest portion is a base, with the inscription: CE MONUMENT QUI PAROIT ETRE UN TOMBEAU A  ETE CONSTRUIT EN 1425 DANS L'EGLISE/DES BENEDICTINS DE FESCAMP EN NORMANDIE SOUS LES ORDRES DE ROBERT CHARDI.  Above the base is a wide frieze, divided into three parts by short piers and decorated with arabesque designs and coats of arms (possibly).  In the central section of the monument, at the center, in relief, is a depiction of a woman.  The image is framed and positioned between two piers (decorated).  On either side of this central grouping is a candelabrum in relief.  On the base of the left candelabrum the inscription reads: ROUEN; while on the base of the right candelabrum it reads: VERNON.  The top of the monument includes a balustrade with two carved panels and a central, arched frame in which a bust of a bearded man above an eagle is crowned by two genii, who stand beside it and hold a festoon in front of the bust
Wallpaper Design
, 1840–60
Brush and watercolor, gouache, graphite on heavy white wove paper
Drawing

A dado is shown at the bottom, an entablature with a gilt ovolo on top. The ground of the panel shows alternately a blue and a narrower white between two light blue stripes. In horizontal rows alternate upon the stripes palmettes from which two ears of grain rise and palmettes from which rinceau spirals spring. The alternative suggestions refer to the respective places and colors of the motifs. A garland of purple vine leaves and blue petals in on top.
Melpomane, Muse of Tragedia and Clio, Muse of History
Felice Giani, Italian, 1758–1823, ca. 1820
Black chalk on laid paper
Drawing

Two women face forward. At left, Melpomane holds a dagger.
Skeleton
, ca. 1550
Pen and brown ink on paper
Drawing

Ideal human skeleton shown standing contrapposto, with the left hand on hip.
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1890–1900
Machine-printed paper

Striped field with serpentine floral or rose pattern. Printed in shades of pink on pink ground.
Sample
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk, metal thread Technique: plain compound satin

Reproduction textile adopted from a Lucchese design in the collection of the Cooper Union Museum. Dark red with metallic gold threads in a pattern of serpentine branches with ogive blossoms and Chinese-inspired monsters and senmurvs between serpentines.
Panel
William A. Clark, American, 1839–1925, 18th century
linen Technique: needle lace

Panel of point de France designed in the style of Berain has an alternating design of draped canopies enclosing cartouches and flowering branches. The lower part has bracketed ornaments with a central motif above and below of a crowned fleur-de-lis. Mesh decorated with picots and motifs partially outlined with cordonnet.
Border
, 16th century
linen Technique: grid of withdrawn element work with needle lace, reticella style

One wide and two narrow borders in geometric forms.
Portrait of a Woman
Jean Baptiste Joseph Pater, French, 1695 – 1736, 1720–1736
Red, black, and white chalk on paper
Drawing

Female head and left shoulder in three-quarter profile turned rightward. She wears a blue/grey ribbon tied at the back of the neck.
Pillow cover
H.E. Verran Company, New York, NY, USA, ca. 1912
linen, cotton Technique: embroidered on plain weave

Unfinished pillow cover from an embroidery kit. The design has two concentric circles of orange and yellow squares as well as four larger green and blue circles containing six orange and yellow squares capped by a green triangle. Blue 'lollipop' forms extend from the central circular design and the green and blue circles. Three corners have printed information about the design.
Lamp shade
Tiffany & Company, American, established 1853, 1907
Favrile glass

1968-55-3-a: (a) Flower bud form glass shade for sconce. Over-a...;     1968-55-3-d: (a) Flower bud form glass shade for sconce. Over-a...
Wey
Morris & Co., London, England, designed 1883
cotton Technique: printed over resist
Textile

Medium scale design of large flowers on curving stems with small composite flowers scattered between. Some dotted detail. In two shades of pale blue on deep indigo blue ground. Wide plain deep blue selvedges.
Louis XVI restaurateur de la liberte
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1789
cotton Technique: printed by engraved plate on plain weave
Textile

Design of seated  Louis XVI with a lion at his side, welcoming Liberty accompanied by Mars and Minerva; next to him a standing female figure holds a cap of liberty on a pike; to the right are a citizen and Mercury. Above a cartouche contains a scene of two peasants driving a plow pulled by two horses. There is a small circular medallion with a view of the Bastille being demolished and a banner bearing the inscription "Louis XVI restaurateur de la liberte" (Louis XVI, restorer of liberty). All in red on white ground.
Flora's Retinue: Poppy
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 an olive ground. A figure of a woman dressed as a poppy with and sitting on the stem of a large poppy, with the word POPPY in the upper left corner, all appearing in ivory on an olive ground. A set of six, the doilies would have been used on the table as part of a dessert service.
Ornament, Christmas tree
, 1850–99
Sugar on cotton

Swaddled baby, tied with green ribbon.
Christ Taking Leave of his Mother, from the Life of the Virgin series
Albrecht Dürer, German, 1471–1528, ca 1506
Woodcut on laid paper
Print

Vertical rectangle. Christ stands in the foreground, facing the spectator, His head turned sharply to the left, facing the Virgin. She has slumped to the ground and is attended by two women. Buildings within a fortified wall, in background; town in distance, right.
Design for a Woven Fabric
Napoleon Bonaparte, French, 1769 – 1821, ca. 1805–15
Gouache Support: varnished laid paper laid down on beige wove paper
Drawing

Vertical rectangle; the crowned Napoleonic eagle with a laurel bough stands upon a star sphere, the lower part of which is hidden in clouds, in the center of a wreath. Damaged edges, detritions, pin holes, wrinkles (RB '45)??? Described by Rudolf Berliner in 1945 as a design for an embroidery.
The Justice of Trajan
Hans Sebald Beham, German, 1500–1550, 1537
Engraving on laid paper
Print

Vertical rectangle. A woman prostrates herself before Emperor Trajan, shown at right on his horse, his back to the spectator. She asks him for justice against the murderer of her child lying before her. His army is in the immediate background.
Ribbon
, ca. 1870
silk, metallic thread Technique: tapestry weave

Purple ribbon with geometric ornament in multicolored silks and metallic thread.
Study for Rose Window for St. John the Baptist Church, Brooklyn, NY
Leon Dabo, American, 1868–1960, 1902
Brush and watercolor, graphite on paper, laid down on illustration board
Drawing

Circular medallions with angels and stars. Central red medallion with "JESUS" in a heart.
Fragment
, early 18th century
silk, metal wrapped silk thread Technique: satin weave with supplementary weft

Pink ground with satin weave outlining the brocaded design. Very incomplete design of horizontal rows of floral motifs and small birds in red silk and silver and gold thread.
Study of Old Cypress Trees, Cypress Point
Samuel Colman, American, 1832–1920, April 11, 1898
Pen and ink, crayon, graphite, brush and watercolor on gray paper
Drawing

A: Horizontal rectangle. B: Vertical rectangle. A: Group of trees is shown in the foreground, against the hillside with a meadow and trees. B: An old tree is shown standing at a hillside, with a wood in the background. High bottom margin.
Flounce
, 1720–30
linen Technique: needle lace

Point de France worked in a close, allover design of conventionalized flower and leaf forms on a ground of picoted bars. Irregularly scalloped edge formed by the foliation.
Textile
, 18th century
cotton Technique: printed on plain weave

Scenes showing fables set in medallions. Printed in purple on a white ground.
Fragments
, 19th century
silk, metallic thread Technique: plain compound weave

Dark purple fragments with an allover pattern of tiny diamond shapes, almost tangent, in gold-pattern wefts.
The Castle of San Juan d' Ulloa, Vera Cruz, Mexico
Thomas Moran, American, b. Britain, 1837–1926, 1884
Etching in brown ink on paper
Print

Harbor with small open boats and large sailing ships in the foreground. In the middle distance, the high walls of the fortress, with its domed tower.
Fragment
, 17th century
linen Technique: bobbin lace

Narrow scalloped border with confused geometric design.
Design for a frieze with a dragon
Carlo Bianconi, Italian, 1732–1802, mid- 18th century
pen and ink, with traces of graphite on laid paper
Drawing

Vertical rectangle. Somewhat more than the right half is shown. A Medusa is the central motif. She is flanked by eagles behind whom rinceaux begin. Framing line.
Panel
, 19th century
cotton, silk Technique: embroidered

Oblong panel of heavy muslin, probably the end of a curtain, embroidered in red and blue silk with touches of yellow. Drawnwork band worked over in cream silk. Design shows stylized trees above and below a horizontal band of embroidery and drawnwork. White cotton knotted fringe attached.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of diagonal lines with three-petaled flowers placed alternately up and down.
Noh robe
, ca. 1800
silk, metallic yarns Technique: twill weawve with discontinuous supplementary weft (brocaded)

Theatrical robe of terra-cotta silk twill brocaded heavily in polychrome silks and gilded paper-wrapped silk-core yarns. The design is of bamboo lattice-work and vines, chrysanthemums, berries and butterflies. Lined with solid color terracotta silk.
The Lime-Burner
James McNeill Whistler, American, 1834–1903, 1859
Etching and drypoint on paper
Print

Veritcal rectangle. The figure of the burner is seen in the middleground, facing the spectator. The wharf and ships in the background.
Pleated fan
, 1884
Gouache-painted paper leaf, varnished and gilded wood sticks, silk tassel

Pleated fan painted on obverse with a scene of bullfighting on the left, and a woman in a manton de Manila next to a torero playing the guitar on the right. Reverse: blank. Sticks varnished red and gilded. Silk tassel.
Handkerchief
, mid-19th century
linen Technique: embroidered

Band of rococo curving lines near border. On these bands walk various tiny animals and people. Animals, flowers and people in four corners.
Study of clouds, Rome, Italy
Francis Augustus Lathrop, American, 1849–1909, 1893–1894
Brush and watercolor, gouache, graphite on paper
Drawing

Sketch of clouds
Cope hood
, 17th century
silk Technique: 7&1 satin plus plain weave with supplementary weft floats

Floral and bird motifs on blue ground.
Textile
Benjamin West, Benjamin West, American, 1738 - 1820, ca. 1788
cotton Technique: printed by engraved copperlate on plain weave

Penn's Treaty with the Indians after a painting by Benjamin West. Printed brown on white with small inscription "F G" to right under foot of one man.
Fragment
, 6th–9th century
linen, wool Technique: plain weave with discontinuous wefts (slit tapestry), with eccentric wefts

Six-sided Coptic medallion with a bird in the center, isolated by a narrow six-sided yellow band which is surrounded by two birds and four spotted animals, on a red background. The outer border has a continuous floral vine on a dark blue ground.
Spoon
, 1600–1650
Brass

Circular bowl surmounted by thin cylindrical shaft with circular seal top.
Jardinière
Olérys-Laugier Factory, France, founded 1738, ca. 1770
Tin-glazed earthenware

Gadrooned lower body; mascaron below the lip with festoons below. Decoration in polychrome with ochre, green and blue allegorical scenes in rocaille framing.
Album of Arabesque Panel Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Album

An album with two series of ornament panel designs, the second series is missing its title page. Two vertical ornament panel designs on each plate, decorated with arabesque and neoclassical motifs. The plates are numbered, and some are signed.