biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for Incense Burners and a Framed Picture
Henri Sallembier, French, ca. 1753 - 1820, 1777–78
Etching in red ink on paper
Print

Designs for two incense burners on plinths flanking a central framed picture or panel featuring neoclassical motifs. The incense burners are decorated with a putto, meander motif, fluting, cartouche, flowers, scrolling leaves (rinceaux), and a festoon of flowers. The picture or panel in the center illustrates an interior scene with drapery and a nude (naked) female figure lying with a swan, from the Greek myth Leda and the Swan. The scene is framed by a garland of flowers. The frame is topped by two putti holding arrows and a festoon of flowers and leaves. The plate is numbered.
Reale dell'armata degl'Argonauti dove era Giasone rappresentato dal Ser. Sposo, from Vessels of the Argonauts for the wedding celebration of Cosimo de' Medici in 1608, plate 7
Remigio Cantagallina, Italian, ca. 1582–1656, 1608
etching on laid paper
Print

The ship of Cosimo de' Medici. An elaborately decorated ship in profile moving from left to right with many banners raised.  Soldiers stand on the deck of the ship as well as Jason, wearing a large helmet and seated towards the left.  A goddess figure sits behind Jason in the rear of the ship holding a spear and shield. Emphemera from the wedding festivities at the marriage of Cosimo de' Medici and Maria Magdalena of Austria in 1608.
Button
, 1900–10
Jet with metal shanks

square buttons with surfaces slightly raised and cut in facets; metal shnks.

On Cooper Union Exhibition card 2
Clouds East of Long Hill, Hudson, New York
Frederic Edwin Church, American, 1826–1900, August 1863
Graphite on gray-green wove paper; verso: graphite and oxidized white gouache
Drawing

Atmosphere sketch showing a view of clouds over the rolling landscape east of the artist's property on Long Hill in Hudson, New York. In the middle distance at center, the top of a hill range is visible--likely the small formation known as Becraft Hills. Along the horizon in the background, a bank of puffy, billowing clouds are shown at center with a tower rising high into the sky, while dark striations of mixed clouds are visible above it at left and below it at right.

Verso: Landscape sketch showing a view of a cloudy sunset over the Catskill Escarpment, as seen from or near the artist's property in Hudson, New York. Looking west-northwest, the various peaks of the escarpment--specifically, Blackhead at center left and Acra Point and Windham High Peak at center right--form a rolling horizon across the composition. Above, a tumultuous mix of clouds are brightly illuminated by the setting sun behind them.
Portrait of P. Alphonsus Nicolai of Soicety of Jesus
Francesco Allegrini, Italian, 1729 – after 1773, ca. 1770
Engraving on paper
Print

Half-length portrait in frontal view. The sitter holds in his right hand a book. Only this hand is visible. Below the oval, an inscribed cartouche.
Furniture Design: Elevation of a Pedestal or Case
Gilles-Marie Oppenord, French, 1672–1742, ca. 1690
Counter proof in red chalk on off-white laid paper
Drawing

The left half of the elevation of a pedestal or of a case.  At center, on a bracket, a girl kneels.
Band
, 18th century
silk embroidery on linen foundation Technique: embroidered in satin, Bokhara couching, herringbone, outline and French knot stitches on plain weave

Wide border with design of birds on uprights stems bearing flowers and leaves, fish with scrolls; narrow border with mermaids holding tails, birds flowers and scrolls.
The Great Basin, Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, probably 1877
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of Mt. Katahdin's Great Basin from the eastern shore of Chimney Pond in Maine. The upper portion of the composition is completed in oil paint while the lower portion is loosely sketched in graphite--including the surface of the pond and nearby rocks or vegetation in the foreground. Beyond the pond in the middle distance, the walls of the Basin begin to steeply ascend at left and right. A dark shadow falls from the ridgeline at left, indicating the sun's position in the southwestern sky, showing that this work was likely completed in the late afternoon. Finally, in the background, the dramatic and rugged eastern face of Katahdin rises high into the sky, creating a high, serrated horizon. Blue sky is visible above--brighter at left and darker at right.
Ile de Philae
Antoine Phelippeaux, French, 1767 - after 1830, 1818–1828
Aquatint on paper
Print

Open Egyptian court with massive columns, two figures at  left, one at center. Top margin: "Ile de Philae." Center margin: "Vue perspective interieure coloriée, prise sous le portique du grant temple."
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rococo cartouche design featuring c-scrolls, scrolling acanthus leaves and foliage, garlands of flowers, and fleurons, within a rectangular frame. The plate is numbered and lettered.
Section of the Wings and Elevation of a Wall on the Court, Palazzo Farnese, Rome
Unknown, ca. 1750
Pen and brown ink, brush and gray, red wash, over black chalk on paper, lined
Drawing

Section of a large, three-story building.  Section through the middle line of the court, the vestibule being at the left.  The elevation of the southeastern side of the court and section of the main and the rear wings are shown.  Measurements are inscribed.
Earrings
, 19th century
Gilt, pearls, paste stones

A and B: Gilt earrings in the form of a human head wearing a turban set with paste diamonds and pearl earrings; at the bottom, a leaf ornament set with red and green stones.  RIng at bottom indicates a part may be missing.
Study for "The State," "The Reign of the Law," Appellate Division Court House, New York, NY
Kenyon Cox, American, 1856–1919, 1898
Graphite on white laid paper
Drawing

A female figure is seated holding a folio in an upright position. The paper is squared for transferring the image.
Arabesque Design
Michel, French, active 18th century, 1780-1784
Etching on laid paper
Print

Arabesque design with a tripod incense burner in the center. The incense burner has goat head pulls. The tripod is elevated on a platform. At the top of the arabesque, there is a globe and a painter's palette with brushes. The arabesque also features baskets of fruits, garlands of flowers, thin reeds, and twisting vine. The plate is not signed or numbered.
Military Trophy Design
Henri Sallembier, French, ca. 1753 - 1820, 1775–76
Etching and engraving (crayon manner) in red ink on paper
Print

Ornamental military trophy design featuring an eagle, flags, shields, spears, quiver of arrows, leaves, ribbons, and an olive branch within clouds. The plate is signed and numbered.
Design for Pendant with Oval Diamond
, 16th century
Pen and sepia ink, brush and wash on paper
Drawing

Design for a pendant. An escutcheon containing an oval diamond at center; at the sides, two palm branches. Below, a pear-like pearl is hanging. A ring above.
Purse (kin-chaku) with Pendant (netsuke) and Cord Fastener
, ca. 1750
Stamped, silvered, and varnished Dutch leather, carved ivory, enamel and brass

Rectagular leather purse with curved corners; stamped silvered and varnished floral decoration througout; front flap with applied silver decoration at edge, depicting small mouse sitting on two flower stalks. Strap at top, consisting of blue cord with one enameled brass bead and circular carved ivory pendant in form of piled fish.
Panel
, 18th century
silk, metallic yarns Technique: woven

Square panel or cover trimmed on all sides with a woven border. The field has an orange-red ground with a lattice formed by spiraling white bands. Within each diamond formed by the lattice is a flowering plant. The border has a meandering vine with small white and blue flowers and red carnations.
Canyon Cleft near El Khasné, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 25-27, 1868
Graphite on light brown wove paper
Drawing

Landscape sketch showing a view of a cleft in a canyon at Petra, Jordan, adjacent to El Khasné. Facing south with the left side of El Khasné's facade loosely rendered at right, the cleft is shown in the middle distance at center left. It is comprised of numerous rocky pinnacles that loom over a deep, dark cavity. The upper rims of the nearby canyon extend out of frame at upper left and upper center.
Design for ink stand
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red watercolor, black wash, graphite, on cream laid paper
Drawing

Rectangular base on cushion feet supports inkstand consisting of two inkpots in shell motif, lid open on right pot, pen holders on each side of fluted basin. A covered cup with a knop in shape of a wreath stands on a block, on which putti holding a pen and writing tablet, are seating on either side.
Figures on a Hill
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1635–1650
Pen and ink, brush and wash on paper
Drawing

Six men work on a hill. Some carry baskets, others carry poles.
Ode on a Distant Prospect of Eton College
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

First page of the poem ‘Ode on a Distant Prospect of Eton College'. The text is printed in letterpress with an etched illuminated letter ‘Y' decorated with buildings in the background. An etched headpiece above depicting a kneeling female figure next to a central flaming alter, a male figure to the left sits above within clouds, the scene is below a ribbed gothic arch with angels below each corner and piles of books to the right.
Stagecoach, Pompeii, Italy
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper; verso: graphite
Drawing

Sketch of a stagecoach drawn by four horses and driven by a single figure, viewed frontally and from above. 

Verso: Sketch of an ancient ancient Roman tomb in Pompeii, Italy, viewed obliquely. The rectangular, marble tomb is decorated with a scroll and an elaborate cornice as it sits atop a stopped stone foundation. Cypress trees flank the tomb at left and right. Along the right margin, three details of the tomb are visible.
Design for Embroidered Waistcoat, pattern 1614 of the Fabrique de St. Ruf
Mademoiselle Baulieu, ca. 1785
Brush and gouache on laid paper
Drawing

Brown edges with rows of beads along those of the waistcoat and the lateral and lower ones of the flap of the pocket. Floral decoration of plants and flower festoons.
Box
, late 19th century
Shaped tortoiseshell

Circular tortoiseshell box with lid.
Fragment
, 16th century
silk Technique: bobbin lace, continuous braid-like

Rounded point border with rosette design in center of each point.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1819
Cast bronze
Medal

Bust of Germaine de Staël (1766-1817).
Console table
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The support are two sitting griffons connected by a festoon. Frame and top are shaped like an entablature with stars and entwined ribbons at the front of the frieze. Usual background.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-1: Part of a set of Italian Minchiate playing cards.50
Zeuxis painting Helen
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown wash, with traces of black chalk on laid paper.
Drawing

Recto: Zeuxis in his studio, painting an image of Helen of Troy. Several nude models pose nearby, one upon a platform. An assistant grinds pigments in the background. Verso: Blank
LE FONTAINE DE L’ETOILLE ou LA MONTAGNE D’EAU
Adam Perelle, French, 1638 – 1695, 1671–1703
Etching on laid paper
Print

A view of a large fountain within a circular basin featuring sculpted rocks and cascading jets of water within the gardens at Versailles. Framed within trellis walls with benches in arched niches, topped with planted vase finials, and trees beyond. Figures (courtiers) throughout. The plate is titled with a description.
Crucifixion
Felice Giani, Italian, 1758–1823, 1815–1825
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle showing a figure tied to a tree in a cruciform posture. At elft, a group of figures. At right, a skull and sign reading: SPQR.
Study for "The Beneficence of the Law," Essex County Courthouse, Newark, NJ
Kenyon Cox, American, 1856–1919, 1905
Graphite on paper
Drawing

Recto: Sketch of a bird; Verso: Partial sketch of a seated female figure.
Textile
, 19th century
silk, plain compound satin Technique: tied resist patterning in warp (ikat) on plain weave

Chiné vertical stripes in red and white zigzag pattern alternating with green and two half-inch yellow stripes in fancy satin weave.
Sketches in the Blue Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite, brush and white gouache on gray-green wove paper
Drawing

Botanical and landscape sketches showing views around the Blue Mountains of Jamaica. At upper left, the bough of a tree with a blossom which is shown again in a greater scale is visible. The boughs of a tree, one of them with leaves on the top, are shown at center left. Miscellaneous sketches are visible, including a hummingbird in front of an outlined mountain at upper center, mountains at center, a leaf plant at top right, a stake fence and a bush, at center right. Near the lower margin, a distant view over mountains with a winding road on a ridge in the foreground, and three trees on a mountain top in the middle distance.
Two Funerary Monument Designs
Henri Sallembier, French, ca. 1753 - 1820, 1777
Etching on laid paper
Print

Two designs for wall mounted funerary monuments featuring obelisks, skulls, vases, wings, leaves, military motifs, helmets, sword, shield, oval profile portraits, and inscriptions. The plate is numbered.
Title Page
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron banister with decorative motifs including lozenges, rosettes, and meanders. The plate features the title in the upper right, but is not signed or numbered.
Sepulchral Monument for the Monk Bonafede
Giuseppe Barberi, Italian, 1746–1809, 1800–1809
Pen and brown ink, brush and gray wash, graphite, on blued-white laid paper
Drawing

In a woodland clearing, a river god crowned with laurel sits at lower right, his left arm over an urn, pouring water. At his right are an oar and a cornucopia. He points with his right hand to a monument surmounted by a bust of a man, which rests on a wreath. The monument is decorated with lyres and swags and bears the inscription: LA MORTE.CRUDEL/ NON.RAPISTI.UN/ MONACHO.SOL/ NEL.RAPIR.UN/ -BONAFEDE-/ LEVAST'I.A.MON/ UN.GENIO.CHE/ DE ILLUMINAR/ SEVIVA.
Design for an Embroidered or Woven Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Pen and white ink, brush and gouache on glazed tracing paper
Drawing

A green strip and a row of ovoidal beads connected by feathery leaves are at left. An undulated stem with carnations and fantastic flowers rises at right. One repeat is shown.
Six Mask Designs
Johann Leonhard Eisler, German, 1672 – 1733, 1720-25
Etching and engraving on laid paper
Print

Six grotesque mascarons or mask designs featuring scrolling acanthus leaves, fleurons, shells, feathers, rosettes, drapery, fruit, and leaves.
Sailing Ships Near a Cape
Lodewijk Gilles Haccou, Dutch, 1792 - 1830, 1810–1825
Brush and watercolor on paper
Drawing

A two-master is shown in the first plane. Rather a strong wind. A lighthouse is at the cape. The signature L G Haccon f is written upon a sail. Framing line.
Serre-Papier
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a desk for storing papers. The piece of furniture is decorated with ornament motifs incluing wave pattern, rosettes,a lion head and acanthus leaves. The plate is signed.
Decoration of the Choir of a Florentine Church for a Medici Funeral Celebration
Alfonso Parigi, Italian, 1606 – 1656, 1620-1625
Red chalk on paper
Drawing

Shown in bird's eye view. Four steps lead to an oblong choir. Below in the center front an altar. At the lateral walls and at the walls beside the apse are sepulchral monuments. Above the sepulchral monuments are two organ lofts. Skeletons upon pedestals, one with a bow, another one with a spear, are shown as temporary decoration. Two rows of candlesticks are obliquely disposed toward the apse which is oblong. Steps lead to a pedesal upon which stands what is supposed to be a coffin. At its back end stands an urn from the base of which a drapery hangs. Laterally are candlesticks and pyramids with candles. The pyramids are as high as the entablature upon which candles are disposed. A chandelier with more candles. At the back wall hangs a coat of arms showing five beads. A coat of arms is on top of the entrance arch.
Altar frontal
, 1700–1750
silk, metallic thread, metal sequins Technique: silk embroidery on silk foundation

Altar frontal of red silk grosgrain embroidered in multicolored silks, gold and silver thread and sequins. Central motif of the dove with an allover design of flowers, fruit, and grain. Edged with gold lace and lined with red taffeta.
Sketches for a Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Top: a part of the plan of the central building. It is circular and has four porticos which are connected by galleries. It stands upon an ovoidal platform which is supported laterally by colonnades. Center: the elevation of the right part. Bottom: an elevation. The elevation is flanked by groups of trees. Porticos flank the staircases. The remaining parts of the wall of the platform are decorated with moldings. The upper platform stands upon a lower one, having pyramids at the corners. Accounts written vertically. A figure is the the right bottom corner.
Vase de marbre blanc, dans la grande allée à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase form the Great Lawn in the gardens at Versailles. The vase is decorated with flowers, c-scrolls, with acanthus leaf, rosette and strapwork friezes. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
Château d'Asnières
, ca. 1700
Carved oak
Panel

Panel with head in center, surrounded by sun-like rays; foliate patterns around.
Le Bassin des cinq Fontaines d’un des Bosquets à Meudon (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on a single sheet depicting bosquets or groves in the garden at Meudon, with fountains, basins, trees, and figures. The plates are titled.
Study for Justice and Mercy, The Kiss of Righteousnes and Peace
Daniel Huntington, American, 1816–1906, April 11, 1878
Graphite on paper
Drawing

Woman in headress seated at left, facing frontally. Women embracing her, right, in left profile, also seated. Two slips of paper with four profiles, pasted, left and right. Verso: Sketch for portrait of a seated man.
Pleated fan
, 1730–60
Painted skin leaf, ivory sticks carved à jour, gilt and silvered, brilliants

Pleated fan with painted skin leaf. Obverse: scene of shepherd and shepherdesses at a well.  Reverse: sprays of flowers.  Ivory sticks carved à jour, gilt and silvered. Pin is set with a brilliant at each end.
Designs for Carved Details of Stagecoaches
Richard de Lalonde, French, active 1780–96, 1780-1796
Etching on off-white laid paper
Print

Designs for the carved details of stagecoaches featuring ornament motifs including mascaron, scrolls, garland, urn, rosette, wave pattern. The plate is signed and numbered.
Architectural Ornament.
Carlo Marchionni, Italian, 1702–1786, mid- 18th century
Pen and black ink, brush and gray watercolor on cream laid paper
Drawing

Atop a column, a mask with shell and foliage. Accounting above and tip of missing text belwo
Design for an Apparatus for Boiling Water
Joseph Anton Seethaler II, German, 1799–1868, ca. 1810
Pen and black ink, brush and gray, black wash on paper
Drawing

Front view. Ovoidal plinth. Two scrolls topped by lion heads hold the body which is shaped as a part of an egg.  The bottom section of the cover is surrounded by a kind of railing; the top section shows cut out quatrefoils.  A tripod censer on top. The spout starts from a mask. Underneath: a receptacle for spirits consisting of an egg shape and the foreparts of crouching dragons.
Grove of Trees in Autumn, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Oil and graphite on off-white paperboard
Drawing

Landscape sketch showing a view of a grove of trees with autumn foliage in Vermont. The foreground consists of dry and brown grass that transitions to light green on a hill that ascends gently to the right. Curving cart tracks are visible on this rise at right, while at left, a split rail fence is briefly shown. At center, the tree grove is colored in vibrant hues of red, orange, yellow, and light green. The sky behind is articulated in a shade of bluish green. The gray-green ground color is exposed along all four margins.
Foggy Lake, Maine
Frederic Edwin Church, American, 1826–1900, October 2, 1878
Graphite on white wove paper
Drawing

Landscape sketch showing a view of fog over a lake with wooded shores near Millinocket, Maine. Surface of the lake extends from foreground to the background, where a portion of heavily wooded opposite shoreline visibly emerges from the fog that blankets the scene. The puffy, undulating top of the fog bank stretches horizontally across the composition while the bank itself is shaded at left.
Booklet, pamphlets, invitation
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900

1943-44-15-a: Printed booklet entitled Sybil Carter Indian Lace Association: New York City; inside has a photograph of the lacemakers with Sybil Carter and other photographs showing a variety of lace goods made by the Lace Association.
1943-44-15-b: Pamphet entitled Oneida Indian Lacemakers of Oneida, Wisconsin.
1943-44-15-c: Invitation to an exhibition of laces.
1943-44-15-d: 2 copies of a pamphlet entitled Lace Made by North American Indians of Birch Coulee, Minnesota.
The Virgin With the Child
Fortunato Duranti, Italian, 1787 - 1863, 1825-1850
Brush and brown watercolor, white heightening on paper; Brush and brown watercolor on paper
Drawing

The Virgin sits on a bank in the open. The Child stands in her lap. She puts her hand upon his head which she intends to kiss. Beside her, at right, lies the globe. Behind her head is a big light hemi-circle, apparently the sun. Cherubim are in the clouds and at left; partly in the hemi-circle is a group of apparently a sitting male figure and a child. Verso: Other side: with little variations the same composition in the  in the opposite direction. Without the globe. Two figures in clouds, with, apparently, a third figure beside. Each drawing with framing line.
Table cover
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: cutwork with needle lace

Rectangular panel of linen ornamented with small squares containing leaves worked in needle lace and larger squared containing birds worked in needle lace, edged with narrow bobbin lace.
Design for a Woven Vertical Border
, 1815–1830
Brush and gouache on oily tracing paper
Drawing

A rising rinceau with two spirals at the tops of which grow blossoms is shown beside a white stripe with a black shadow line outside.
Design for a Brooch
, mid- 18th century
Pen and ink, brush and green, red watercolor on paper
Drawing

Jewelry design for a brooch. Nine hanging drop-like jewels on the exterior of the brooch and at center; five rounded medium-sized gems and six small round gems are connected and partially supported by five pedestals of various sizes, and by volutes. The general outline is that of a lozenge.