biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Brooch with Apollo
, 16th century
Pen and ink, brush and sepia wash, gray watercolor on paper
Drawing

Jewelry design for a brooch. An oval diamond is framed by an escutcheon, with one volute in the upper half, scrollwork in the lower half, with a ram's head below. From the sides are hanging two chains with three round diamonds each. Below, a larger one. Above, seated figure of Apollo reclining with a lyre.
Letter
Jean-Charles François, French, 1717–1769, 1753
Engraving
Bound print

Letter written by Jean-Charles François praising the building projects of Stanislaw Leszczynski in Lorraine set within an architectural frame decorated with garlands, cornucopia, vases, and a coat of arms at top.
Design for a Candelabra
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Design for an ornate candelabra flanked by two winged putti (children) at the base. The candelabra is decorated with scrolling leaves, acanthus leaves, c-scrolls, s-scrolls, and fleurons.
Study: The right hand of a woman
, 1625–1675
Black and red crayon on rough brown-gray paper
Drawing

Horizontal composition of a woman's right hand, which is lying towards the right. The beginning of the forearm is shown at the left.
Design for Two Brooches
, 1825–50
Pen and ink, brush and watercolor, sepia on paper
Drawing

Sbove, an octagonal diamond is framed by volutes with pearls of various sizes. On top, a crown; at the sides two big pearls; hanging an oval diamond. Inside the frame, four small pearls.
Obersee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 17, 1868
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the Obersee and the surrounding peaks and ridges of the Bavarian alps, looking north from the lake's southern shore. In the foreground, the placid waters of the lake extend to the opposite shoreline in the middle distance. At right, a steep mountainside creates an abrupt, curving shoreline. At left, a similarly steep, almost vertical slope plunges into the lake. In the background, the peak of the mountain known as Hachelkopf are visible at upper left, and the peaks of the Watzmann are shown in the background at upper right.
Project for a tabernacle
Filippo Marchionni, Italian, 1732–1805, 1750–1775
Black chalk, pen, brush, ink and gray watercolor on paper
Drawing

Vertical composition of a tabernacle. Top: The elevation of the facade of a church with a dome. Below is a dado, the plan of which is concave, as is that of the first story. The second story is convex. A pedestal with a statue of the Arisen Christ is on top. Statues stand on the entablature of both stories. The panels of the right sides of either story are decorated with statues in niches, as one stands in the central panel of the upper story. The right half of the plan of the first story is on the bottom.
Cartouche with Obelisk and Palm
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738–45
Engraving and etching on laid paper
Bound print

Cartouche with nude figure blowing horn and putti, framed by rocaille motif. Architectural background with pointed structure surrounded by wall with putti. Left, female figure holding cornucopia with spewing water; above, fantastic plant formation and putti.
Antelao, From Cortina, with Studies of Flowers
Samuel Colman, American, 1832–1920, July 9, 1904
Pen and black and brown inks, pastel, graphite on cream laid paper
Drawing

Mountain landscape.  Along right edge, flowers divided geometrically, with notes. Verso: mountains, above and below; flowers, left and right.
Design for Silk Brocade
, ca. 1750
Pastel on gray-blue laid paper, squared with pen and brown ink
Drawing

The repeat consists of flower boughs beneath a landscape; a plant, a trellis structure, a thyrsos, a vase containing a plant. A chain consisting of two intertwined waved boughs, connects each motif with its neighbor at right, and with the staggered motif in the row beneath it. One repeat is nearly entirely shown and part of another.
Study: A left hand in a leaning position
Giovanni Andrea Sirani, Italian, 1610 - 1670, ca. 1650
Black crayon on rough grey-blue paper
Drawing

Vertical composition of a hand leaned against a surface with bent fingers
Elevation of a Garden Facade for a Small French Palace
, 1700-1720
Pen and ink, brush and watercolor, graphite on paper
drawing

A flight of stairs leads to a terrace, the ends of which project. House with two stories and a mansard. The middle section and short wings project. Most of the windows are opened in sunshine and cast shadows.
Designs for a Desk and a Table
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a desk with a set of drawers on it and framed by sphynxes as well as a table with female heads at the top of the table legs. The plate is signed and numbered.
Designs for Pendants
Gilles Légaré, French, 1617 – after 1685, 1663
Engraving on paper
Print

Five designs for pendants featuring gems and floral ornament. The plate is signed and numbered.
Design for a Bedroom
, 1790
Pen and ink, brush and watercolor, black crayon on paper
Drawing

The bed with its hangings is shown at right and the door is at left. An oblong panel with a festoon and a painting of a Satyr and Nymph.
Saint Paul and Figures, after Raphael
Felice Giani, Italian, 1758–1823, ca. 1820
Graphite, pen and ink, brush and sepia wash on paper.
Drawing

A group of robed figures, a detail after Raphael.
Design for an Embroidered Frontal
Giuseppe Barberi, Italian, 1746–1809, 1810-1830
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

More than the left half is shown. In the center, is a circular medallion with a cross. Beside are spherical pentagons, with rosettes in irregular quadrangles in the center of rinceau palmettes. Outside are: an oblong with sheaves rising from a calix, and a pillar strip with a candelabrum having in its center top a lozenge with a rosette and grapes. The strip is framed by garlands; so is the central part, the subdivisions of which are framed by moldings.
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 well-dressed woman, the upper one shaded by a man holding a parasol. The cartouche is comprised of ornament elements including rinceaux, scrolls, a radiating mascaron, floral garland, dolphins, birds, fountain, and vine. The plate is signed and numbered.
Buttons (2)
, ca. 1880
Stamped and painted brass, cut steel

(a) Brass button with design resembling Persian Cone stamped and painted in color, surrounded by facetted boses of cut steel in various colors; brass shank. 
(b) Similar button in smaller size. Component -b is on card 42.
Decorated Coach Body
Felice Giani, Italian, 1758–1823, 
Pen and brown ink, colored washes over black chalk on paper.
Drawing

Illustrated decoration of a coach with naturalistic and figurative elements - not quite complete - in "L'Arte," vol. 3, 1900. Appendix p.23. 
Bottom right: more of the ornament is shown than reproduced. 
Nottom left: evidence of another design that continues to the bottom edge.
Les Lois de Lycurgue
Cholet, ca. 1825
cotton Technique: printed by engraved plate on plain weave
Fragments

Three scenes (one complete only when lengths would be sewn together) of Lycurgus teaching the youth of Sparta. Full repeat not present. A and B are necessary to complete a partial width.
Portrait
Claude Bonnefond, French, 1796–1860, 19th century
silk Technique: Jacquard woven

Panel showing a portrait of Jacquard seated in a chair in his textile workroom; he holds a compass. Underneath the portrait is the notation: "Jacquard 1752-1834." Beneath that are the notations: "Ecole municipale de tissage de Lyon" and "Dessin de Ch Michel d'apres C. Bonnefond."
Textile
, 15th–18th century
cotton Technique: resist-printed

Simple floral motif within a grid of S-shapes and rosettes. White design on blue ground.
Band
, 19th century
silk embroidery on linen foundation Technique: embroidered on plain weave

Border of natural linen embroidered in red silk in a geometric design of two intertwined strands, with a floral pendant edge.
Title Page
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

The title page for a series of ornament designs. The title is lettered on a sheet of paper held up by two putti and the female figure of Fame, blowing her horn. Below, objects representing the arts, with a bust, a palette, paint brushes, and measuring devices. And in the lower right corner, a putto seated at a table with engraving tools and an engraving plate in front of him. The plate is signed, dated, and numbered.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Green morie effect ground with gold color floral pattern.
L'Alliance
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of an older man holding an ivy-wound staff turned toward a younger woman who is facing forward. They are surrounded by scrolls and vines. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
Pair of candlesticks
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Green stems, pink flowers; Candle socket and bobeche with flared rims of transparent ombréed rose glass with milky vertical stripes; transparent dark green inverted baluster stem with eight ribs, surmounted by flattened knop and merese; broad shallow trumpet-shaped foot.
Vase with box
Louis Comfort Tiffany, American, 1848–1933, ca. 1910
Favrile glass; cardboard, paper (box)

(A) Vertically ridged body, expanding at shoulder, on short, knobbed stem; flat foot. Greenish-gold iridescence, with blue and pink flashes.  (B) Rectangular box covered with wood laminated to paper. Imprint: Tiffany Studios 391 Madison Avenue New York. (C) Lid to box.
Portable Lamp for Living Room, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on white tracing paper
Drawing

Design for a table lamp with a shade. Upper center, sketch of shade.
Bowl
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Mold-blown favrile glass

Clear glass bowl with flared rim showing ten pink petals with green at base, green foot.
Pitcher
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Gold iridescent pitcher with diamond pattern, applied light blue handle.
L'Hiver
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of ornament with a central oval depicting a scene of figures ice-skating on a frozen pond with buildings in the background. The oval has icicles dripping from a frozen fountain at top, and a mascaron of winged Father Time below it. The plate also features ornamental motifs like scrolling acanthus leaves, bat wings, and branches. The plate is signed.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

red/brown warp and two shades of gold color weft making  a floral arabesque pattern
Study of Two Spaniels Chasing a Bird
Henry Bernard Chalon, English, 1770 - 1849, 1810–1830
Graphite on paper
Drawing

One is shown at right, standing, the other in the center running. Bushes are in the background. On verso: a few letters and figures, and the monogram "18 / FPJ".
Death and the Standing Nude Woman
Hans Sebald Beham, German, 1500–1550, 1547
Engraving on off-white laid paper
Print

Vertical rectangle, The winged figure of Death stands behind a nude, standing woman, both shown frontally. He seizes her left wrist and she grasps his right hand, fighting him off.
Plaque
, early 17th century
Ebony, carved

Juno with Peacock?
Table mat
, 17th century
linen Technique: withdrawn element work

Table mat edged at either side with a wide border showing peacocks.
Textile
Philippe Wyngaert, 1823
cotton Technique: printed by engraved copper plate on plain weave

Panel, cotton, copper plate printed, Toile de Jouy, in purple, showing scenes from the Histoire de Balisaire, signed by Philippe Wyngaert.
Table cover
, 17th century
silk, metal on linen Technique: inlaid and satin stitch embroidery, gold wound on silk core used as straight thread.

Oblong table cover, fine white linen, with wide borders embroidered in gold and citron-colored silk; pattern, in three borders, of highly stylized flower (lily) and flat bars. Gold is wound on silk core and used straight as thread. Green silk inlaid and satin stitch.
Two Tureens
, 1790
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle. One above the other marked C and D. C with supports shaped like pillars with lion feet. Two lion masks with rings as handles. On top a peacock; D. is supported by two lying lions. In front the mask of a medusa; pair of snakes as handles. On top a putto sitting with flowers. The lines as in -1075.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1795
Black chalk, pen, brown ink. Dark brown water-color wash. Paper.

Venus is seated upon a chair and holds an olive bough toward Mars who, in armor and with drawn sword, is about to depart, Cupid, too, tries to hold him back. Another Cupid leans sorrowfully upon the back of a chair. The quiver of Cupid and two doves are shown at left, where a fortress and a battle are shown in the distance.
Altar lamp
, 18th century
Brass

Prefericulum shaped, and suspended by four chains from an inverted bowl. The chains return, and support a round ring which hangs, centered to the main body of the lamp and about ten inches above it. The main body of the lamp is unadorned save for two fillets, a rolled, splayed rim and a ring which is attached to the lowermost point of the lamp. The inverted bowl is decorated by a torus and surmounted by a ring. Four handles in wrought scroll shapes act as brackets for the four suspension chains. The links of the chains are wrought in forms of bucklers, Maltese crosses (eight-point crosses), clefs, rampant lions, each connected by small eight-shaped links.
The Boston Common
Winslow Homer, American, 1836–1910, May 22, 1858
Wood engraving in black ink on paper
Print

Groups of people on the Boston Common on a windy day, with fountain at left and stairs at right.  Children play with hoops.
Trimming
, 17th century
metal-wrapped silk thread, flat metal strips Technique: bobbin lace

Gold color lace border in a design of diagonally-crossing lines with scallops on both edges. In yellow silk and metallic thread.
Fragment
, 300–100 BC
cotton, wool Technique: embroidered in stem stitch on plain weave

The fragment shows two conventionalized human figures on a dark purple background. Upper figure wears tan dress and a greenish blue headdress; lower figure a greenish blue dress and a tan headdress.
The Shot Tower
Joseph Pennell, American, active England, 1857–1926, 1906
Etching in black ink on laid paper
Print

Junction of a river with loft buildings, docks, and a shot tower seen in the middle distance.
Coastal Landscape (Étude-Formes)
Leon Dabo, American, 1868–1960, ca. 1890
Blue crayon on paper
Drawing

A smooth body of water with two boats in the foreground near a spit of land on which are tall trees.
Textile
, late 18th–early 19th century
cotton Technique: roller and block printed on plain weave

Naturalistic flowering vine and flower sprays in allover design in shades of red, blue, violet, and yellow with dark purple outlining. Made into a chair seat.
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew, New York City. Shown slightly oblique, with lowered head and somewhat raised arms. He wears a tunic and a wrapper, the upper edge of which stretches from the right hip to the left armpit.
Fragments
, 19th century
silk, metallic Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Woven fragments have a pattern of red flowers in ogival shaped latticework. Bottom border of flowers.
Textile
, 1800–1850
cotton Technique: roller printed, glazed

Short panel of a chintz pillar print in shades of brown, red and yellow. Short, fluted pillar with Corinthian capital appears at intervals in two vertical rows, surrounded by naturalistically rendered flowers and foliage.
Design for pendant with palmette
, 16th century
Pen, sepia, brush, grey water color. Paper
Drawing

Vertical rectangle. A palmette is framing a circular diamond. Below hang five pear-like diamonds. Above a ring.
Fragment
, 18th century
silk Technique: plain weave with supplementary wefts

Serpentine pattern of polychrome branches on off-white. Many tears in the fabric.
Plate
, 19th century
Lead-glazed earthenware

Polychrome "tortoise-shell" decoration in brown, with yellow, green and blue-gray glazing on upper surface, and simple molded edge.
Fragment
, late 17th century
silk, metallic thread Technique: 5-harness satin damask with additional patterning by discontinuous supplementary wefts bound on the surface in 4/1 twill by every 5th satin warp (two found wefts to one supplementary weft)

Bizarre-style red damask with a large pattern of angular shapes such as rock-like formations and branches bearing large fruit. Brocaded in yellow, blue, pink and white silk and silver thread. Pattern shows drooping floral spray growing out of a conglomeration of silver rock-like formations and an exotic bird perched on a branch.
Title page for "Douze eaux-fortes"
François-Nicolas Chifflart, French, 1825 - 1901, ca 1860
Etching in black on white paper
Print

Vertical rectangle. Winged Medusa head supported by a cloud and anchor.
Commemorative square
Windsor Print Works, North Adams, MA, USA, 1829–1956, 1893
cotton Technique: printed

Pink square commemorating the 1893 World's Columbian Exposition in Chicago, an event that celebrated the 400th anniversary of Columbus's arrival in the Americas. Nine medallions have depictions of his arrival as well as Spain's coat-of-arms and the American eagle with a shield flag. The dates 1492 and 1892 appear on either side of the central circular medallion.
Border
, 1830–60
Block-printed and flocked

1931-45-95-a,b: Brightly colored morning glories interspersed with...;     1931-45-95-c: Rectangular. Band of blue and white morning glorie...
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-a: Circular form with scalloped edge and shallow well...
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cb: Aesthetic all-over pattern of sprigs of roses and ...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
buttons [5]
, ca. 1870
bogwood [oak]

each of the five circular buttons is pierced in under side of rim with four holes for sewing, and ornamented on the top with design of Gothic Architecture.  These buttons belong to original set of thirteen buttons. for other objects originally in the group see: 1941-91-1-b,d, f/h, j, k, and m. which are deaccessioned.

Components a,c,e,l are on card 37
Component -i is on Cooper Union Exhibition card 4
Alcove in the Salon of the Grand Duchess Anna of Mecklenburg-Schwerin
C. Rath, Austrian, active 19th century, 1877
Brush and watercolor, gouache, gold paint on white wove paper
Drawing

This interior is dominated by royal blue walls, tasselled window treatment and heavily carved ceiling and wall panels.  An orange carpet is decorated with Islamic motifs.  A corner cabinet, a desk, miniature paintings and potted plants reflect an interior truly in the Victorian spirit.
Textile
, 1750–1800
bast fiber Technique: block printed resist on plain weave

Border design of tassels and flowers. Design turns a corner. In white on blue. The piece may be a fragment of a table cover.
Jug
S. Hughes & Co., ca. 1842
Glazed stoneware

Blue-grey body; running stags decoration.
Turkish Tombstones
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Turkish tombstones, in yard, all ornamentally decorated.
Textile
, 1200–1500
cotton, wool Technique: slit tapestry; nonhorizontal wefts; note: loomed width 36.5cm

All-over pattern of diagonal bands patterned by interlocked birds in red, yellow and black. The Predominate color of each stripe alternates between red and yellow.
Border
, 1815–35
Block-printed on paper

Large-scale acanthus leaf and pineapple motifs, printed in front of row of leaves, with beaded top band.
Textile
, 1750–1800
cotton Technique: resist printed on plain weave

Coarse cream-colored cotton printed in one shade of blue. Design shows heavy flower heads, a serrated pointed leaf; and other smaller flowers springing on short stems from branches. Design is much enhanced by lines of white dots, particularly in outlining leaves on larger flower head.
Sampler
Rebecca Barnes, American, 1818
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

In the center, a floral wreath contains the inscription: 
Rebecca Barnes 5th Mo 23 1818
Symmetrically arranged motifs of flowers and birds fill the field; there is one alphabet at the top. Surrounded on four sides by strawberry vine and floral borders.
Sun Breaking through Clouds over Sea
William Trost Richards, American, 1833–1905, late 19th century
Graphite on white-colored paper, mounted
Album page

1953-179-85-39: View of two tall cliffs at right with water splshi...;     1953-179-85-40: Sketch of ocean breaking on beach with ships on ho...;     1953-179-85-41: Sea with boats on horizon at center and right.50
Ice Skater
, late 19th century
Silver-plated metal (possibly alpacca)
Matchsafe

Oblong, curved sides, featuring raised decoration of male figure skater in 19th century dress, muff over hands, boy on sled, harbor background with sail boats, coastal buildings, all framed by c-scrolls and floral motifs, stamped "ALPACCA" near top, as well as unidentified maker's mark just below. Reverse features pastoral scene with 2 females in 19th century country dress, hoisting bags on to donkey's back, sheep and dog nearby, church in background, all framed by c-scrolls. Interior match container slides out of external, decorated sleeve, small thumb catch near top edge. Striker on top side.
Pleated fan
, 18th century
Painted and gilded paper leaf, carved and painted ivory sticks with foil behind guards, glass stone at rivet

Pleated fan. Painted and gilded paper leaf. Obverse: three cartouches with figures in the Chinoiserie style. Reverse: Chinoiserie figure. Carved and painted ivory sticks stained blue at rivet; foil behind guards. Glass stone at rivet.
Heraldic Panel
Hanns Brenisa, 1564
stained glass, silver stain, enamel, metal
panel

Rectangular stained glass panel depicting in grisaille, a standing man dressed in armor and red boots, holding a spear in one hand and the other hand on hilt of sword at his side, under a blue and red arch with green pilasters and decorative columns. Next to him, a shield, arrows, and plumes. Flanking him are two bright beet-colored pedestals topped with green finials; behind him, blue stairs. Hanging above is an escutcheon: "1564". Behind the shield, a man stands holding one black arrow pointing up and a white arrow pointing down. Above this, a hunting scene unfolds depicting a man on horseback and two other men on foot, following a stag, with several dogs.
Sidewall
, 1840s
Block printed on paper, masonite support

Landscape scenes set within an elaborate frame in the Rococo or Renaissance style. a) shows a bridge and tower, while b) shows a large ship in a harbor. The scenes are printed in color and the framework, vases and flowering vines are in grisaille.
Sugar caster
, early 19th century
Molded tin-glaze earthenware, overglaze lustre

Pyriform caster with pierced top, on flaring foot. Reserve floral decoration in silver lustre ground.