biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Censer and Incense Holder with Alternative Suggestions
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and black ink, brush and yellow, brown wash, graphite on light blue laid paper
Drawing

Horizontal rectangle. At left is the censer, whose upper end is at right, the chains curved; the boat is in the center below. Alternative suggestions at right provide for cherubims supporting festoons at the foot of the censer, for cherubim in clouds on top of it, for a shaft in the form of a column, and for lion masks at the body of the boat; the main decorations at left consist of flutes; on top of the censer is a basket with flowers.
ÉLEVATION D’UNE CHEMINÉE
A. Le Canu, French, active 1746 – 1768, 1768
Etching and engraving on laid paper
Print

Design for a neo-classical chimneypiece with a scale below. The mantel is decorated with fluted sides, and corbels with a festoon of laurel leaves. On the mantelpiece is a central lidded vase and two vases on each side. The vases are connected by a festoon of leaves. The overmantel mirror is framed by an egg and dart course and a central profile portrait in an oval roundel hanging in the upper center, framed by ribbons and laurel leaf festoon. Above a wave pattern and corbels along the cornice. The plate is titled, signed, and numbered.
Designs for Furniture
André-Charles Boulle, French, 1642 – 1732, ca. 1715
Etching and engraving on laid paper
Print

Designs for four pieces of furniture including a gueridon (candlestand), a torchère (stand), a desk with filing cabinet topped with a mantel clock case and vases, and half a filing cabinet topped with a vase and ewer finials. The furniture is decorated with gilt bronze mounts and marquetry featuring scrolling leaves, acanthus leaves, s-scrolls, c-scrolls, rosettes, putti, mascarons (masks), fleurons, gadrooning, and diaper pattern. The designs are titled, the plate is numbered, and signed by the publisher.
Keyhole escutcheon
, ca. 1740
Gilt bronze

Rococo scroll
Rum Punch
Robert Cruikshank, 1789 - 1856, ca. 1836
Brush and gray watercolor, pen and ink, graphite on paper
Drawing

Interior with figures. A large ecake in center. Punch bowl at lower right. Punch and Judy show in background.
Ornamental Vase Design
Jacques-Philippe de Beauvais, French, 1739 – 1781, 1760-1764
Etching on laid paper
Print

Globular vase with a narrow mouth. The vase is decorated with meanders and a band of rosettes around the belly. The vase is elevated on a small, simple plinth. The plate is signed and numbered.
Trial Proof for a Flowered Chintz
, 1820–30
Woodcut in multicolored ink on tan ground on white paper
Print

Stylized wild roses intertwined among frames formed by leaf motifs with a buckle-shaped ornament. Printed in red, yellow, green, blue, lavender, and dark brown.
Men and Women Looking Out to Sea, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881
Graphite on heavy cream wove paper; verso: violet crayon
Drawing

Four figures of women in shawls in lower left foreground, walking across wet ground with a group of men in oilskins on right side, standing in shelter of building, looking out to sea. Man on right edge of group pointing toward sea with left arm. Verso: Unidentified sketches.
A town gate in Mexico.
Howard Russell Butler, American, 1856 - 1934, 1888
Black. brown, white crayons. Grey paper.
Drawing

Verticle rectangle. Oblique view of a gate in a wall of a sidewalk in a street with a church. A man carrying a burden walks out. Written in the lower right corner: HRB / Mexico / 1888.
Bust Portrait of a Classical Woman
Giuseppe Bernardino Bison, Italian, 1762 - 1844, late 18th century
Pen, ink, grey watercolor, sepia, and brush on paper
Drawing

A profile bust of a woman with her hair styled classically within an oval niche.
Army Wagon Train
Winslow Homer, American, 1836–1910, 1864
Graphite on paper
Drawing

Recto:  Horizontal view of a train of army wagons drawn by mules.
Verso: Lower portion of two women wearing crinolines.
Hunchback sitting on a step
Giuseppe Barberi, Italian, 1746–1809, ca. 1785
Pen and brown ink, brush and brown wash, on paper
Drawing

A stylishly dressed hunchback sits on a step reading a note.
Stage Design: Proscenium and Palace Staircase
Girolamo Fontana, Italian, 1668 - 1701, 1690–1710
Pen and brown ink, brush and gray, brown wash on white laid paper
Drawing

Vertical rectangle showing view of an elaborate three-tier architectural stage setting containing multiple flights of stairs decorated with sculpture. At sides, foliage and trees which suggest a grotto. At top clouds with a seated allegorical personage.Around the stage is an architectural framework with additional draperies and an orchestral area surrounded by a curved balustrade. At top of frame work is an escutcheon containing the letter M.
Ornamental Vase Design
Georges Charmeton, French, 1623–1674, 1677-1703
Engraving on laid paper
Print

Lidded vase with a pinecone finial. The top half of the vase is heavily ornamented with acanthus leaves. The bottom bowl of the vase bulges out, and has alternating mascarons and busts, linked by festoons. The vase is raised up on four claw feet. The plate is lettered and numbered.
LE CERVOLANT / LES OISEAUX ATTACHES
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Plate from a series of twelve scenes of children playing, framed within decorative rococo cartouches, two per plate, side-by-side. The scenes illustrate groups of children playing within garden landscapes with balustrades behind them. The left-hand scene shows a group of boys playing with a kite and blowing bubbles with a dog. The right-hand scene features a group of girls playing with birds tied to strings, with a cat. The titles are lettered below each cartouche and the plate is numbered.
At the Banks of the Loire
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1860
Graphite, brush and black ink and white heightening on apricot colored paper
Drawing

A sailboat is on the river.
Print
, 18th century
Black ink and watercolors on paper

Horizontal strip: bear hunt. At left, a bear on its haunches crushes a hound with its foreleg as two other cogs rush it. At the right a hunter shoots a bear at close range. Colors green and brown, the hunter's coat yellow.
Grille du Chateau
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for an iron gate, decorated with an eagle, a coat of arms, laurel leaves, pinecones, drapery, and scrolls. The plate is signed and numbered.
Project for an Oval Frame
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

An oval frame painted to look like partial gilt. Decorated with inner band of rosettes and acanthus leaves; outer band with guilloche. At top, a floral garland with a loop at center.
Escutcheon, Plate 4 of "Cinqeme Cahier de Cartouches"
Pierre-Philippe Choffard, French, 1730–1809, 1780–1790
Etching on paper
Print

Generally rectangular in shape, with rocaille, leaves, grapes and a ribbon bow motif. Right top corner "E". Right bottom corner "4".
Album of Frame and Cartouche Designs
Franz Hegi, Swiss, 1774 – 1850, 18th–early 19th century
Album of frames

Album of Frame and Cartouche Designs by various artists including Franz Hegi, Pierre Ranson, and Jean-Pierre-Louis-Laurent Houel.
Galerie métallique des grands hommes français (Great Men of France)
, 1818
Cast bronze
Medal

Bust of Joseph-Louis Lagrange (1736 -1813).
Design for a Hand Fan (Left Plate)
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

A design for a hand fan or hand screen pasted to the left of another design. The design features rococo and chinoiserie (in the Chinese style) motifs, with a man sitting in the foreground within a landscape with a covered bridge in the background. The ornament framing the scene features a vase on a plinth, a bird, wings, c-scrolls, fleurons, rosettes, rinceaux, and leaves. The plate is lettered and signed.
Textile
, 16th–17th century
silk Technique: 4&1 satin damask

Interlacing ogives containing foliage and urns, Blue/green warp, yellow weft. Selvages at both sides.
Nouveaux Desseins de Balcons
Pierre Edme Babel, French, 1720–1775, 1890–1910
Facsimile of the original etching (photomechanical or lithography)
Print

Three designs for wrought iron or metalwork balcony balustrades featuring scrolling leaves, c-scrolls, s-scrolls, festoons of flowers, baskets of flowers, a flaming torch, and a quiver of arrows. The plate is titled, with a scale below. This is a late 19th-early 20th-century reproduction from a series first published between 1738-1743.
Elevation d'une maison de 11 toises de face
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a house with a facade decorated with pediments and bas-reliefs. The building is 11 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed
Mexican Landscape
Frederic Edwin Church, American, 1826–1900, April 20, 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a rolling landscape with clouds in Mexico. In the foreground, trees are visible at left and right while the terrain seems to descend to an indistinct middle distance. In the background at center left, a sharp mountain shaped like a shallow triangle is visible along the horizon. In the sky above at right, a group of billowing clouds is visible.

Verso: Architecture sketch of a building in Mexico. Rectangular in shape, the building appears to have a crenellated wall at left and a tower whose top is unfinished at right. A large doorway is possibly shown at center left.
Petites Croisées d'Attique
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for casement windows with decorated jambs. The left features wave pattern and egg and dart; the right, draped leaf garland, a fluted brace, and egg and dart. The plate is signed.
Illustraton for Hamlet. Polonius and Hamlet (II,2)
Eugène Delacroix, French, 1798 - 1863, 1835
Lithograph on paper
Print

Polonius and Hamlet (II,2)
Doorknob
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Doorknob.
Fan leaves, Third and fourth plates of the set, "Divers Desseins de grands Eventails, Encrans, et autres Ornamens, inventés et gravés par Nicolas Loire"
Alexis Loir, French, 1640 - 1713, ca. 1670
Etching, engraving on laid paper
Print

Ovoidal medallion showing Actaeon leaving Diana upon a pedestal. Laterally shown are putti in the backs of carriages to which pairs of doves are fastened.
Design for Cutlery Containers, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Two designs for containers for cutlery. The container on the left is open, revealing the handles of cutlery, and is decorated with a satyr term between two females; the lid lies to the right.  The container at right is closed and is decorated with one female term between two male terms holding drapery. Both are adorned with pearls and have masks at the base. between two male terms holding a drapery. Both are adorned with gems and pearls.
The Watzmann, near Berchtesgaden, Bavaria
Frederic Edwin Church, American, 1826–1900, June–July 1868
Brush and oil, graphite on tan paperboard
Drawing

Landscape sketch showing a view of the mountain known as the Watzmann, from near the town of Berchtesgaden in Bavaria, present-day Germany. Grassy terrain extends from the foreground into the middle distance, where it encounters a steep and heavily wooded hill with a flat top at right, and a steep mountainside at left. In the background at center right, the northern peak of the Watzmann catches the pink light of the setting sun, as does a distant mountain range at center. The sky above is filled with warmly hued, almost golden clouds.
Sea Centaur Battles Sea Monster
Felice Giani, Italian, 1758–1823, ca. 1805
Black chalk on off white laid paper
Drawing

Above at left, a monster with ram head and butterfly wings. A young centaur seen from left and back, has horn in left hand and swinging a fish with right.  Young satyr stepping on his tail.  Below, monster at right, centaur has seized it with left hand. Upon centaur's back lies awoman.
Drapery Study for "Tribute Money"
Daniel Huntington, American, 1816–1906, July 1852
Graphite, white chalk, brown chalk on brown wove paper
Drawing

Drapery study for a man, standing. The drapery appears more finished, while the undershirt and figure are roughly sketched.
Two Designs for Altar Cross Bases; verso, Designs for Five Projects
Luzio Romano, Italian, active 1528 – 1575, 1530–40
Pen and brown ink, brush and brown wash, black chalk on heavy cream laid paper
Drawing

Depicted on recto: two bases for altar crosses (only right half of each is shown).  On the LEFT, a base formed by a pedestal resting on lion feet; the lower part of pedestal is bossed (gadrooned); the front decorated with a tablet and festoon which is held by an angel standing at the corner: above another "pedestal" supporting a vase decorated with bosses (below) and a row of cherubim (above); at the top of the ink-drawn base, two seated angels support a socket.  Above this, lightly sketched in black chalk, a jeweled cross with two angles holding the shaft.  The base on the RIGHT: on a molded base stands a pedestal, the sides of which consist of a volute resting on lion feet and a cherub above; in the lower section of the pedestal, at the center, a festoon hangs (with a shell on top); above this, is a tablet frame.  Above this, a squat "bottle" or "knob" decorated with an Antique key pattern which supports a circular domed structure, which, in turn, supports a vase decorated with bosses (gadrooning) below and cherubim above; above this is another vase with gaines below and an unreadable lobed element above.  At the top, a socket/tablet and above that a standing angel holding the shaft of a jeweled cross (lightly sketched in black chalk).  On VERSO, near left edge: the right half of a grotesque.  At the bottom of this form is a hanging pear form with a palmette.  Above this a floral form upon which rests a scalloped base with a harpie supporting a calyx.  Above this is a decorated oblong base from which acanthus leaves sprout ending in a goat.  From the acanthus leaves springs a lily shape above which is a scalloped base supporting a round vase holding flowers and decorated with a basket motif above and a head below. Above the oblong base rests a sphinx from whose head springs leaf-like motifs.
Détail des ornemens de la Bergere A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Details of the ornament designs for the armchair represented in 1921-6-331-41. The ornament motifs include acanthus leaves, fluting, rosettes, scrolls, lamb tongue, ribbon twist, and rosettes. The plate is signed and numbered.
The State Coach
Constantin Guys, French, 1802 – 1892, ca. 1856
Pen and brown ink, brush and blue, green, and rust watercolor, graphite on paper
Drawing

Horizontal rectangle, bevelled corners. A green brougham, surmounted by a coronet, the carriage drawn by two white horses and driven by a coachman in court livery -- blue livery and trappings -- standing under a blue and white awning with liveried guards by the door.
Le Printems
Pierre-Philippe Choffard, French, 1730–1809, 1769–75
Etching on paper
Print

Headpiece for an edition of Les Saisons, Poëme by Charles-François Saint-Lambert. The headpiece represents the season of spring. A roundel in the center illustrating a young man ploughing a field with cows or animals and trees in the background. The roundel or medallion is framed by an overlapping frieze with zodiac signs (Gemini, Taurus, and Aries), foliate branches with flowers, birds, wheat, leaves, quiver of arrows, vase of flowers, and a flying butterfly and insect to the right. The plate is titled and signed.
Frame with Two Scrolls of Leaves
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, circular form, topped by two scrolls of leaves. Weaponhs at lower left and right, vegetal decoration throughout.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Bottom central motif of a large lambrequin, suspended from scrolling strapwork. Also includes scrolling foliage and floral motifs.  Field in brown and pale blue; diapered scrollwork and foliage in varnished silver; flowers of blue-and-white and red-and-white.
Landscape Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Landscape sketch of lush, mountainous terrain in Jamaica with a river at center. In the foreground, vegetation frames the scene at left and right while, at center, and arched bridge traverses the river. A prominent, rocky hill is visible in the middle distance at center, beside what appear to be structures at left. In the background, the rolling landscape extends to the horizon.
Frieze
, 1880–1890
Machine-printed paper, embossed

Simulates a border of flowering nasturtiums with a background of a row of profusely berried twigs. At the base there is a band simulating a low scalloped wire fence. From house built in 1812 in Burlington, Vermont. Aesthetic style.
Study of a Female Figure (Victory)
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite on paper
Drawing

Study of a female figure (Victory) crowning Christopher Columbus for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Silver Moth
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1910
linen Technique: embroidery on plain weave
Table mat

Light reddish-brown linen table mat with a stylized moth embroidered in brown, blue and green in each corner, facing the center of the cloth.  A signature "D" is embroidered within a wheel at bottom center.
''FERNAND CORTEZ''
, ca. 1815
cotton Technique: printed by short plate on plain weave foundation
Textile

Four scenes in dark brown on natural. The scenes are: Cortez and servant being greeted by native king and decorative women; Cortez paying court to native princess; native women bringing presents to Cortez and Cortez in his tent.
pitcher, cream
, 19th century
glass

Cobalt blue creamer (crack in glass), blown and applied glass. Cobalt blue jug is expanded mold blown in a diamond lattice pattern, with flattened base and swelling curved sides tapering in toward and  outturned neck and lip. Scroll of handle of the glass applied with upper curve forming finger grips, lower portion of handle composed of pressed blobs and small scroll.. Pontil mark clearllly visible on underside.
Textile
, 17th century
linen, silk Technique: warp printed satin weave

Linen weft concealed by silk warps in satin weave. Warps chiné dyed. Vertical stripes of red and tan with groups of narrow short stripes in blue, yellow and tan.
Cap
, ca. 1860
silk or possibly hair Technique: looping

Cap with a triangular shape has rosettes and streamers over each ear in brown silk or hair.
Study of a Man's Head in Profile
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a man in profile, with long wavy hair past his shoulders. His torso and shoulder are suggested with a few lines. The plate is signed and numbered.
D coupage Silhouette: Hom
Wolfgang Amadeus Mozart, Austrian, 1756–1791, 1790–1800
Cut black paper, cloth, pen and brown ink, metallic threads, laid down on white laid paper
Decoupage

Vertical format; a youthful cadet stands in left profile beside a bust of the child Wolfgang Amadeus Mozart (1756-1791). Composition rendered in black paper silhouette, with certain zones filled in with cream-colored or green silk. (RPW '58)
Necklace
, ca. 1870
Amber, silver

Necklace of medium sized disks of unevenly cut amber set off in parts from one another by little silver rings and at intervals by seven silver beads.
Cooper Union Museum Lace Study Card
, 18th century
linen Technique: bobbin lace (Mechlin-style)
Fragment

Scalloped border fragment with "fond de neige" ground. Scrolling flowers and foliage set off by solid bands.
Study for a Wall Memorial in the Judson Memorial Baptist Church, New York
John La Farge, American, 1835–1910, 1892–1900
Graphite and watercolor on paper
Drawing

Arched top vertical panel in the Byzantine style, with a memorial in the center. Circular plaque in arch.
Sleeve
, 19th century
silk, metallic thread Technique: embroidered with satin and couching stitches, French knots on satin ground

Deep golden yellow satin with symmetrical design of a phoenix in floral arabesque on either side of large floral rosette. In bright silk satin stitch with details in French knots, outlined in couched gold thread. Cuff band of orange and black ribbed cloth brocaded in paper gold. Lined with salmon pink satin, now faded.
Edge
, 18th century
linen Technique: bobbin lace (Valenciennes ground)

Valenciennes type cap lace. Leaf scrolls and rococo ornament with small quatrefoil motifs.
A Classical Temple
, ca. 1780
Pen and black ink, brush and watercolor, over black chalk on paper
Drawing

Elevation and plan, one above the other, of a Classical temple.  The building is located on a platform and reached via steps (nine in total).  A narrow, steep flight of stairs leads to the door. There are two statues located at the foot of the stairs.  Portico with two rows of four Ionic columns and a triangular pediment.  Above, a high drum and a dome. The plan portion of the drawing shows the temple on a large platform.
Textile
, 1860s
silk Technique: plain weave (purple) patterned by floats of a continuous supplementary weft (black). The two wefts exchange functions allowing the foundation weft (purple) to float on the front

Crisp thin mauve silk with deep border of swags, festoons, medallions, bouquets patterned on in black weft floats.
Fragment
, late 18th century
linen Technique: needle lace

Fragment showing large delicate ribbon-tied floral sprays. Very irregular in shape.
Textile
, ca. 1750
silk Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Two pieces of cream-colored satin brocaded with a design of broken stems and branches with flowers in blue, green, red, brown and black silks. Piece a is backed with white buckram and bound with gold and black striped velvet.
Fragment
, mid-18th century
silk, metallic thread Technique: compound weave with discontinuous supplementary weft (brocaded)

Mirror image on center line pattern of long branches and polychrome flowers on white ground.
Fragment
, 18th–19th century
linen Technique: lace of premade tape with needlework fillings

Leaf scrolls and floral forms in tape outline with details in various needle work stitches.
Sewing instruction book samples
, 1829
Colored wools

Eight small mats each with a patterned center surrounded by a border. Center is worked on canvas with cross or other stitches; border is knotted in rug technique. a) - d) center pattern of conventional type; e), f), h) flowers; g) a dog.
Sketch of Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman looking upward, slightly to the right. Long hair, partially braided, with beads around the top of her head.
Textile
, 18th century
silk, cotton, metallic thread Technique: supplementary warp pile

Jardinière cut and uncut velvet in green, rose, purple on gold ground. Colors faded except in places where some other material had been sewn. Serpentine floral design. Ground heavily ribbed with wefts of orange cotton. Extra weft of gold on surface. Russian letters at top in uncut pile, partly cut off.
Fragment
, 16th century
silk Technique: damask

Chinoiserie design of symmetrical floral repeat with ragged head, straight stem, encircled with crown and supported at each side at the base by a twig rising from a thicker branch. Smaller variant in interspaces.