biglam/cooper-hewitt-alt-text huggingface dataset:
Bobbin
, 18th century
glass

Nine glass bobbins in various colors
a) Bobbin of black glass with yellow overlay and yellow cap.
b & c) Bobbins of white glass containing red and yellow thread and decorated with red and yellow overlay.
d) Bobbin of yellowish green glass.
e) Bobbin end and black glass with pink cap. 
f/i) Bobbins of white glass with dark red overlay.
e & i are broken
Two Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Second plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. Two fleurons or tailpieces, one above the other, made of flowers, leaves and branches. The plate is numbered and signed.
Textile
, 1780–1800
linen warp, cotton weft Technique: block printed on plain weave

A reserve print. Design of lozenges containing male and female sea god figures. In red on natural.
Fabbriche Italiane di Seterie, Como, Serie D Vol. III DAL 1854 AL 2 Lats Noir
, 1870–79
Label: leather binding, paper pages, jacquard woven silk samples
Sample book

Sample book of jacquard woven silk samples, separated by transparent paper sheets, bound in leather. Samples primarily with black grounds and brilliantly colored designs.
Design for a Round Table on Scrolling Base
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Round molded table top raised on reeded columnar supports, atop a molded base terminating in scroll-like feet with carved rosettes.
Table cover
, late 18th century
linen Technique: block printed using resist, then indigo dyed on plain weave

Small table cover with design of a croissant, pot of chocolate or coffee and a dish with a long handled spoon repeated on each side. In white on blue. Hemmed top and bottom.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, graphite on paper mounted on tan illustration board
Drawing

Horizontal window of green and yellow framed with burgundy, containing yellow circles.
Buttons
, late 19th century
bone

4 circular buttons of bone showing brown concentric rings; four holes for sewing.

Components -a,-b are on card 2
Component -i is on Cooper Union Exhibition card 4
Sampler
Urania Louth, English, 1746
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave

A shepherd and shepherdess, doe and buck, hunter, flower urn, trees, birds, and a verse within a heart; with a vine border.
Lekythos with Youth Holding Lances
, 5th century B.C.
Terracotta with painted decoration
Lekythos

Ovoid body with tall neck, flaring mouth and curved handle leading to flat shoulder; raised circular foot. Central scene in red-brown on white ground of a youth at a tumulus, wearing petasos (traveling hat), boots and chlamys (traveling cloak), and holding two lances; Greek key pattern above scene, black band below; shoulder decorated with tongues and rays.
Sidewall
, 1805–15
Block-printed and flocked on joined sheets

At left edge, yellow column with black flock acanthus leaves, overprinted with orange. Sidewall design contains deep blue stars and framework on blue ground.
Cortes
, ca. 1815
cotton Technique: plate printed on plain weave
Textile

Four different scenes showing Europeans in a Central American culture. A cupid overlooks one scene. In brown on white.
Design for a Round Extension Table
A.N. Davenport Co., 1900–05
Graphite, yellow color pencil on thin cream paper
Drawing

Round molded top raised on fluted columnar support with concentric molding at bottom, raised on molded octagonal base terminating in 4 splayed legs with brass sabots on casters.
Elevations et Profils de Portes Cocheres sous un Imposte avec Entre-sol et Balcon
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Divided elevation and plan of an entryway decorated with a balcony at top and ornament motifs including wave pattern, cornucopia, rosettes, and garland. The plate is signed.
Floorplan of a Cabin, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September - October 1878
Graphite on white wove paper; verso: graphite
Drawing

Architecture sketch showing the floorplan of a cabin that would later become Church's camp on the south shore of Lake Millinocket, Maine. Shown at center, the cabin's rectangular footprint is divided evenly into three square sections--ostensibly representing separate rooms or spaces. An entryway is shown in the middle of the lower facade.

Verso: Architecture sketch showing an elevation plan of a log cabin that would become Church's cabin on the south shore of Lake Millinocket in Maine. Made up of four evenlyspaced sections, the cabin features a covered entry at middle right, while the roof of the leftmost section is slightly slanted.
Détail de la Partie du Bosquet de l’hermitage avec La Distribution des Batiments qu’il contient.
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Etching and engraving on paper
Print

An architectural plan for a building and its surrounding garden with fountains. A coat of arms with putti in the upper left corner. The plate is titled, numbered, signed, and dated.
Storm Coming
Winslow Homer, American, 1836–1910, 1884
Black chalk on off-white laid paper
Drawing

View of dark clouds, a calm sea, shore with pine trees, and a man running.
Designs for Flowers: Carnations
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for flowers with their leaves, numbered with a legend below: four different types of carnations. The plate is numbered and signed.
Decorative Studies of Candelabra; Verso: Masculine Heads
Felice Giani, Italian, 1758–1823, 1817
Pen and ink, brush and watercolor over graphite on laid paper
Drawing

Eleven decorative studies of candelabra with grotesques; two capitals. Verso: masculine head with laurel wreath in profile, barbarian head in profile after antique.
Floral Ornament Design
Gabriel Huquier, French, 1695–1772, 1738–49
Etching on laid paper
Bound print

Fourth plate from a series of twelve designs for rococo ornament by Huquier. The design incorporates chinoiserie elements and is made up of flowers, c-scrolls, shell and acanthus leaf fronds, branches with leaves and flowers, and fruit The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Teapot and lid
, late 18th century
Lead-glazed earthenware with green underglaze decoration

Gently conical body with slightly domes shoulder, curved spout, ribbed strap handle. Cover is domes with pointed knob. Body and cover are ribbed and striped with green.
Proofs for four plates of "Alfabeto in Sogno" [Dream Alphabet]: Letter I
Giuseppe Maria Mitelli, 1634 – 1718, 1683
Red crayon on white laid paper
Print

Central image of a girl carrying a flower basket that forms the letter "I" with additional drawings of eight profiles of men and boys; a hedgehog.  Reverse: an eye; a subdivided square; graphite.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Two ornament designs featuring foliate scrolls, scrolling leaves (rinceaux), rosettes, fleurons, putti (merman and satyr/faun), festoons of leaves, a cartouche, shell, dolphin, and incense burner. The plate is signed.
Fragment
Emperor Maximilian, ca. 1865
silk Technique: woven

Central pineapple flanked on either side by acanthus leaves. Previously used as chair upholstery.
A Window Case
, 1730–1760
Pen and black ink, brush and gray wash, traces of graphite on off-white laid paper
Drawing

Elevation shows the frame of a basement window with lateral pilasters supporting an entablature. The plan beside at left. Two framing lines.
Siloam and the Mount of Olives, Jerusalem
Frederic Edwin Church, American, 1826–1900, February 7 and 10, 1868
Graphite and white gouache on tan laid paper; verso: graphite and white gouache
Drawing

Landscape and architecture sketch showing a view of an area of Jerusalem known as Siloam. Viewed from a slightly elevated perspective, a road runs through a gully at lower left while, at right, several rectangular buildings are situated on a steep hillside. In the background, rolling terrain spotted with trees rises to a high horizon where a group of white buildings are shown at center right. 

Verso: Architectural study of the minaret of the White Mosque of Ramla in present-day Israel. In the foreground, two leafless trees flank a ruined wall. At center, the rectangular tower rises high and dominates the composition. The upper two levels are characterized by a triple arched decorative scheme, while fixed buttresses support the lower half. T right, a herd of livestock graze under a ruined arch.
Chasuble back
, 15th century
silk, metallic thread Technique: embroidered and appliquéd on supplementary cut warp pile (velvet) in a plain weave foundation Label: silk cut velvet, appliquéd and embroidered with silk and metallic yarns

Back of a chasuble with an embroidered orphrey band down the center, embroidered motifs at the sides, and bound all around with gold braid. The deep brown velvet side panels are embroidered in gold metallic and polychrome silks with angels on orbs and floral arrangements. The center band is densely embroidered with four saints in different architectural niches.
Design for a Woven Fabric
Fabrique de Saint Ruf, Lyon, France, ca. 1820
Graphite and yellow and purple gouache on black tracing paper
Drawing

A candelabrum with a lozenge form at the bottom, a plant in the middle, a footless flower pot on top. Squared.
Sidewall
, 1890–1900
Intaglio printed on unbleached paper

Vertical rectangle printed with simulation of wood graining. Intaglio printed in black on unbleached paper.
Ornamental Vase Design
Maurice Jacques, French, ca. 1712–1784, 1760-1775
Etching and engraving on paper.
Print

Lidded vase design with a pinecone finial. The neck of the vase has stylized shell pattern. The belly of the vase has softly angled fluting, and a barely raised handle that connects from the bottom of the belly to the neck; the handle is ornamented with acanthus leaves on the side and a stylized, raised shell pattern along its length. The foot of the vase is thin and tall and has beaded detailing. The vase is elevated on a low plinth and is surrounded by flowers. The plate is signed and numbered.
Trophée à l’Amour
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on paper
Print

Title page and ornamental trophy design with the attributes of love on a plinth or a bracket, including drums, shields, flowers, banners, arrows, jugs, quiver of arrows, foliage, ribbons, and scrolling leaf motifs, a rosette, and wings, with clouds above. The plate is titled, numbered, and signed.
Escutcheon, No. 15 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 15 of the same set as -10, "Raccolta di varii cappriccii," etc.
Clouds above the Catskills at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–1880
Oil on tan paperboard
drawing

Landscape sketch showing a view of clouds at sunset behind the Catskill Mountains, viewed from near the artist's property in Hudson, New York. In the foreground, the lightly wooded east bank of the Hudson River is loosely rendered in brown tones. The river itself, comprising the remainder of the foreground, reflects the light from above as it extends to the heavily wooded opposite bank. Dark, rolling terrain extends through the middle distance and includes the large hill known as Cairo Round Top at center left. The Catskill Escarpment itself descends across the horizon from left to right, and includes the summit of Blackhead Mountain at center left. Above, the light of the setting sun emanates through a break between a low-lying cloud bank and higher elevation clouds. A cloud positioned at center casts a long, dark shadow across the sky and thus makes visible the sun's light. Parts of the clouds are highlighted in a rosy-gold.

Verso: Mixed pencil sketches including a square frame and several indistinct designs, including lines curving around stacked pairs of cirlces.
Le Dragon Œillet de Poëte
Charles-Germain de Saint-Aubin, French, 1721–1786, 1755-68
Etching on laid paper
Print

A bouquet of flowers, loosely tied with ribbon. The base flowers have larger petals, amidst which are sprays of multi-bud stems. The plate is not signed or numbered.
Frieze
American Wall Paper Manufacturers' Association, 1879–1887, 1880–87
Machine-printed

Brown and tan design on mustard yellow field. Top and bottom identical narrow bands of alternating rosettes and banded reeds. Center consists of a continuous floral scroll with leaves similar to the acanthus. On margin is printed : "A.W.P.M.A. 3133".
Ornament Design
Bernard Picart, 1673–1733, 
Engraving on laid paper
Print

Ornament design featuring motifs including putti, scrolling acanthus leaves, snakes, a satyr, mascaron, masks, branches, fish scale pattern, and batwings. The figures emerging from scrolling acanthus leaves on either side are accorded "African" or "American" attributes, notably, the headdresses.
Design for a candelabrum
, 1791
Pen and ink, brush and wash on paper
Drawing

Design for a candelabrum with a vase-shaped base with Satyr faces on the sides and acanthus scrolls as handles. Three branches in the shape of plant boughs with leaves, each carrying a blossom intended as a socket on top.
Design for a Brooch
, 1850–75
Pen and sepia on paper
Drawing

Square gem at center, surrounded by four volutes, two shells and many small round stones or pearls.
Fragment
, 16th century
silk, metallic thread Technique: embroidered on satin weave

Narrow fragment of red satin embroidered in green, blue, white, yellow, and brown silk and gold metallic thread. Right and left borders in blue silk. Central motif of quatrefoil enclosed by circle of gold with fleur-de-lys and acanthus foliage.
Plate 5, from "A New Book of Chinese Ornaments"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1750
Etching on paper
Print

Chinoiserie escutcheon in which a figure with arms folded and legs crossed before him sits. A snake in the border.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Design scheme similar to 1938-88-826. The inside of the butterfly wings at center is filled with rows of disks without separating bands, upper disk with three drops below. Bevelled upper corners.
Title Page, from Part I of "Divers Ornemens"
Gabriel Huquier, French, 1695–1772, 1730-1740
Etching on paper
Print

Double escutcheon formed by rocailles, blossoms, trees, and a parrot who sits at right, through which a distant landscape is seen.
Harbor
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Partial sketch of a ship docked in a harbor with figures in the foreground.
Two Snuffbox Lid Designs
G. Roberday, French, active 1697 – 1713, 1710
Etching on paper
Print

Two designs for snuffbox lids (one above the other) featuring grotesque and chinoiserie ornament. The upper design includes two monkeys dressed in clothing in the center framed by an ornamental border with snakes, birds, scrolling leaves, a mascarons (masks), and a canopy above the monkeys with draped textiles. The lower design features a dog, birds, and a squirrel framed by scrolling leaves, and strapwork. The plate is numbered.
Study of a Standing Cow, Farmington
Samuel Colman, American, 1832–1920, August 1876
Brush and oil paint on canvas
Painting

A standing cow is slightly obliquely shown, directed toward left. A part of a building is shown as background, showing a narrow window at left, a door at right. Margins show the creamy grounding color.
The Green Mountains near Clarendon Springs, Vermont
Frederic Edwin Church, American, 1826–1900, October 1873
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the Green Mountains near Clarendon Springs, Vermont. In the background, a series of sharp and overlapping mountains along a rugged range are visible beyond rolling and wooded terrain in the foreground and middle distance.

Verso: Landscape sketch showing a loosely rendered view from Vermont of nearby treetops and a distant mountain range outlined in the background at right.
Design for Ceiling with Spartan Women in Central Rectangular Panel
Felice Giani, Italian, 1758–1823, 1800–1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Spartan women giving shields to their husbands and sons while exhorting them. Setting shows vaulted hall. Six oval medallions surround oblong. Medallions show seated gods, respectively Neptune, Venus, Mars, Zeus, Minerva and Apollo. Quadrangles dispersed obliquely at corners. Left ones contain battle scenes. At right top corner, victor in race of chariots. At right bottom corner, a victoriously racing chariot. Sea god shown at right. Upper part of decoration for wedge shown around right bottom corner; grotesque plant candelabrum with panoply in top center. Verso: representation of same theme outlined in graphite.
Design for Stuart Monument
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Intended to be erected in the intercolumniation between two embedded columns, which support an entablature. At left: upon a high pedestal stands a base with two stpes and a plinth and upon it the statue of a ruler in classical attire, extending the right arm, with the mace. Beside him stands upon the upper step a putto supporting a shield and raising the sword. Another sits upon teh same step, at he other side. A third kneels at right upon the lower step, supporting a festoon and possibly the shield. The corners of the steps are bevelled. A canopy hanging from above, forms the background of the group. In front of the pedestal stands the sarcophagus upon a pedestal. Its body is tub-like. Upon the cover two putti, an escutcheon with a crown on top. The second design is at right without framing line; in a smaller scale, the entablature. The sarcophagus is supported by a high pedestal' upon its cover kneel, respectively sit, two winged figures and support a medallion with a portrait, and on top the crown. The main part of the pedestal consists of an oblong panel with a relief. Laterally are gaines with a head above. Above the entablature is a triangular pediment with two female allegories sitting upon it.
The Artist in the Village
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

A middle-adged man, seated and making a drawing, is surrounded by village people, mostly children.
A "Forum"
Johann Andréas Pfeffel, German, 1674–1748, 1740
Engraving on paper
Print

Plate 10 of the first part of the "Architetture e Prospettive," published by Joh. Andreas Pfeffel (1674-1748).
Design for a Horizontal Panel of Ornament
Jean-Louis Prieur the Younger, French, 1759 – 1795, late 18th century
Etching and engraving on white laid paper
Print

Design for a panel of horizontal ornament with a central eagle with spread wings on top of a globe, surrounded by scrolls and vines with smaller birds.
Engraving: Monograms of Two Letters
Nicolas Langlois, French, 1640 - 1703, ca. 1765
Black ink on white paper
Print

Vertical rectangle. Fifteen monograms in five rows. The letters are composed of leaf scrolls. They are letter A combination with other letters. It starts with B and ends with R.
Design for a Ceiling
, 18th century
Pen and ink, brush and wash on paper
Drawing

Irregularly shaped page. At top left, a curving moulding. To the right of this, scrolling ornament with a ram's head. Below, to the left: an undecorated square. To the right a swag held aloft by two putti who cast shadows onto a scrollwork panel behind.
Elevation of a Fountain
, late 18th century
Pen and brown ink, brush and gray wash on off-white laid paper, lined
Drawing

Obelisk topped by a phoenix rising from a basin with dolphins.
Wall decoration; console table
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Wall decoration; console table.
Fragment
, 1750–1800
silk Technique: cut and uncut voided supplementary warp pile in cloth foundation (pile-on-pile velvet)

Small-patterned or "miniature" velvet with a white ground shot with silver thread. Lines of laurel leaves in white cut, and black and white uncut pile, crossing diagonally forming lozenges, each lozenge enclosing a minute floral spray in black and white uncut pile, with only center of flower in white cut pile.
Apollo Guards the Herds [or Flocks] of King Admetus
Felice Giani, Italian, 1758–1823, 1780–1800
Pencil, pen and black ink, brush and watercolors on paper.
Drawing

Horizontal Rectangle. Seated, he plays the lyre. The dog and thecastle are at right. Caption, on top written with black chalk: 3 in a hexagon. For the Teatro Della Concordia, Jesi says Cavina, Vol II, p. 813, AI, 278.
Sifting Spoon
, late 19th century
silver
spoon

Twelve lobed oval bowl pierced in the center with four flowers and surrounded by pierced circles and stylized leaves. Reeded stem with fiddle-form terminal and ornate monogram W engraved on the reverse.
Case and eyeglasses
, 1820–1850
Sheet silver, silver-plated metal, optical glass (glasses); stained shagreen on wood core (case)

Oblong green stained case (a) with glasses (b) with silver plated oval rims and straight temple pieces hinged near mid-pint to fold.
Woodland Waterfall, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Brush and oil, black crayon on off-white paperboard
Drawing

Landscape sketch showing a view of a stream and small waterfall in a woodland setting, likely in Vermont. At center right, water cascades over the small fall and into a clear, rippling pool that flows toward the viewer and center. Along the lower margin, the rocky bank, strewn with fallen autumn leaves, is visible. Moss and vegetation grows on the steep rocky banks, at left and right. The view dematerializes in its upper portions, becoming an assemblage of green and brown brushstrokes. The creamy-gray ground is visible along the left and right margins.
Seascape, Prout's Neck
Winslow Homer, American, 1836–1910, ca. 1884
Charcoal on buff-colored wove paper
Drawing

Seascape with a low rocky shoreline in foreground and a high cliff at left with three schooners just visible on water, at middleground, under an overcast sky.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Globular lidded vase in the form of an incense burner, with billowing smoke coming out of the top. The vase has a swirling acanthus leaf pattern around the body, as well as garlands crisscrossing in the front. There are ram head ornaments on either side of the vase with rings of garland in their mouths. The vase is a tripod, supported by three goat legs bound with a band of garland. The vase is elevated on a stepped platform that extends to the edge of the image. The plate is signed and numbered.
Courtyard of a house
François-Marius Granet, French, 1775 - 1849, ca. 1820-1845
Pen and ink, brush and wash on paper
Drawing

At right is the house, at left is a garden wall, with a well in front of it. Probably a house in Provençe.
Fragment
, 16th century
silk, metallic thread Technique: cut supplementary warp pile (velvet)

Small irregular-shaped pattern of red cut velvet on a gold metallic cloth ground. Design of large-scale pomegranate pattern.
Potpourri Vase
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1835
hard paste porcelain, vitreous enamel, gold
potpourri vase

Potpourri vase molded with relief decoration around piercings on shoulder and lid. Gilded bands at base, neck and lid. Handles with mascarpone crowned with water reeds. Painted courtship scenes. Knob in the form of a rose.