biglam/cooper-hewitt-alt-text huggingface dataset:
Study for "Rainy Season in the Tropics"
Frederic Edwin Church, American, 1826–1900, 1865–1866
Graphite on white notepad paper ruled in blue ink
Drawing

Landscape sketch and preparatory study for "Rainy Season in the Tropics" showing a precipitous mountain landscape with towering pinnacles at left and colossal alpine mountains in background. Waterfall in the distance drains into a lake in middle distance, which then feeds a roaring cascade in the foreground. Flanking this enormous waterfall at left is a castle or church perched atop a cliff, while, at right, a cluster of palm trees and other foliage stands beside the suggestion of a road or path. A centrally-placed, fully-articulated double rainbow arches over the entire scene. 

Verso: Architecture sketches of elevations and plans for a Mansard-roofed house, organized in boxes and sometimes numbered: shown vertically at bottom is the house standing at a declivity and composed of two wings; shown horizontally in the opposite direction is the front portion of the house with a different distribution of windows; shown at various locations are several designs referring to the shape of the roof and a house plan; and shown at bottom right are two fillets supported by scroll motifs. Likely early brainstorming for Olana.
Ornament Design
Alexis Peyrotte, French, 1699–1769, 1740–49
Etching on laid paper
Print

A design for rococo ornament featuring scrolling leaves, rinceaux, flowers, feathers, shells, foliate branches, a face / mask, and garlands.
Six Designs for a Child's Bed
, ca. 1630
Pen and ink, black chalk on paper
Drawing

Six designs for a child's bed. At upper left, a cradle with a child in it stands upon a platform. Four statues support the canopy. At upper center, a trough-like bed with a child in it is fastened to a parapet which rises from a platform and upon which putti are intended to hold a canopy. The other end is intended to be carried by two putti. At upper right, a bedstead with a child in it stands in a kind of pavillion. At lower left, a bedstead with a child in it, in the shape of a ship on a platform. At lower center, a trough-like cradle. At lower right, a kind of bowl is supported by figures of chimaerae upon a platform.
Grille
, ca. 1650
Wrought iron

Oval, for a small window. Scroll-work disposed about central vertical and horizontal axial rods.
View of Mount Mansfield from Cambridge, Vermont
Daniel Huntington, American, 1816–1906, September 6, 1866
Black crayon, white chalk, graphite on grey paper
Drawing

River and bank in foreground, with mountain beyond.
Ornament Design
Alexis Peyrotte, French, 1699–1769, 1740–49
Etching on laid paper
Print

A design for rococo ornament featuring scrolling leaves, rinceaux, flowers, feathers, a shell, foliate branches, garlands, and a face. The plate is signed.
Vignette with Gourds and a Ewer on a Pedestal
D. P. Pariset, French, 1740 - ca. 1783, ca. 1769
Engraving on paper
Print

Vignette with Gourds and a Ewer on a Pedestal.
Design for a Bowl
, 1820–35
Red crayon, pen and ink on paper
Drawing

Design for a bowl in the shape of a nef. At right, an angel perches on a scroll. An antefix mask at left.
Classical Scene with Figures
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, black chalk on paper
Drawing

Classical scene with figures and a beast; a lyre in the background and left, with buildings receding into the distance and a hill rising at right.
Paul et Virginia
, mid-19th century
cotton Technique: printed by engraved roller on plain weave
Textile

This is a late version of an original design by Huet for Oberkampf entitled "Paul et Virginia." Printed in eggplant on white and has four vignettes showing scenes from the romance.
Cuff buttons
, ca. 1860
Bright-cut engraved aluminum, gold

1928-5-3,4: Brooch (a) and earrings (b,c) of aluminum set in e...;     1928-5-3-a,b: Each circular button in the form of a knot decorat...;     1928-5-4-a/c: Brooch (a) and earrings (b,c) of aluminum set in e...
Pleated fan
, ca. 1805
Silk leaf with silk net, embroidered with metallic spangles and stamped metal pieces; sticks of incised horn with applied metallic foil

Pleated fan, silk leaf with silk net, embroidered with metallic spangles and stamped metal pieces in a floral pattern, sticks of incised horn with applied metallic foil. Coral-colored silk with classical ornament in gold metallic.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed side-by-side on a single sheet. The designs feature winged putti standing flanking plinths featuring an oval with a standing female figure, vases, flowers, a cartouche with a putto, fruit, shells, mask (mascaron), ribbons, festoons of leaves, fleurons, foliate scrolls, and scrolling leaves (rinceaux). The plates are signed and numbered.
Fragment
, 13th or 14th century
silk and metallic Technique: twill weave

Paired parrots and horned quadrupeds against a background of verdant foliage. Entire piece has been dyed black although it was probable that it was originally in several colors.
Ornamental Vase Design
L.N. Percenet, French, born 1736, 1761
Etching on laid paper
Print

Vase with snakes for handles. The snakes terminate at a mascaron with wings on its head at the center below the shoulder. There is gadrooning at the base of the vase; the foot of the vase is formed from stylized acanthus leaves, with a band of gadrooning at the bottom. The vase is elevated on a platform the extends to the edge of the image. The plate is signed and numbered.
Two Girls Seated on a Bank
Winslow Homer, American, 1836–1910, 1879
Graphite on heavy off-white wove paper
Drawing

Two girls, viewed from behind, sit in the shadow under a tree.
Italian Theater, Paris
, ca. 1820
Engraving on paper
Print

Horizontal rectangle. In the foreground at right is the corner of a house with the street sign: RUE MARIVAUX. The caption is similar to -1402 with N. 16; VUE DUE THEATRE ROYAL DES ITALIENS / Prise au coin de la Rue Marivaux.
Platter (One of a Pair)
Derby Porcelain Factory, English, established 1756, ca. 1784–1806
soft paste porcelain, vitreous enamel, gold
platter

Octagonal dish, border decorated with geometric designs in gold, blue and white. Four medallions, each containing a single pink rose. Bottom decorated with a landscape in an oval bound with ivy.
Great Basin of Mt. Katahdin, Maine, Part Two
Frederic Edwin Church, American, 1826–1900, September 1877
Graphite and white gouache on gray-green paper
Drawing

Landscape sketch showing the central portion of a three-part panoramic view of the Great Basin of Mt. Katahdin in Maine. Viewed from the northern shore of Chimney Pond, the lower portion of the composition features the heavily wooded hill on the opposite bank of the pond. Beyond, the interior wall of Katahdin's Great Basin wraps around us, encompassing the entire view. The walls of the basin are extremely craggy and rocky, and partially covered in vegetation. White gouache highlights water and small cascades throughout the scene. Above, the rugged ridge of Katahdin--with Pamola prominently visible at left--forms a high, serrated horizon. Sharp pinnacles visible throughout.
Waste Bowl
Wedgwood, English, established 1759, late 18th century
stoneware (Black Basalt)
bowl

Circular, on raised foot, sides have basket-weave texture, inside smooth.
Elevation d'un pavillon de 12 toises de face du côté du jardin
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a pavilion with a central, arched doorway, and decorated with carved garlands, wave pattern, and ionic capitals. The pavilion is stated to be 12 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Berceau du Labyrinte à Versailles
Adam Perelle, French, 1638 – 1695, ca. 1690
Etching on laid paper
Print

A three-domed trellis pavilion with a bench set into a central arch. The central dome is topped with a copula. Planted round topiary bushes set as finials on the roof. Trees in the background. On either side of the central arch, there are two mythological sculptures of figures on plinths. The proof is before lettering, with the title inscribed in ink, within the plate, lower center.
A nude man
, ca. 1800
Red crayon on brown-grey paper
Drawing

Male figure sitting upon ston, right leg crossed over left with foot standing upon support. Chin is supported by left hand.
Title Page
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for façades and profiles of buildings representing the five orders of architecture. From left to right they are labelled at the bottom: Tuscan Order, Doric Order, Ionic Order, Corinthian Order, Composite Order. The plate is signed and numbered.
Overdoor
, 1805
Block printed on handmade paper

Overdoor panel, design of Cybele seated in a chariot drawn by two lions; with frame representing Greek molding.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The vase is decorated with shell, foliage, acanthus leaf, rosette and strapwork motifs, with figures around the upper section and a central bearded open-mouthed mascaron and dragon-shaped handles. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Design for an Urn on a Stand
Joseph Anton Seethaler II, German, 1799–1868, 1820-1830
Pen and black ink, brush with gray, black, green watercolor on wove paper
drawing

A side view of an urn with the spout on the left. The urn is oval in shape, with curved wooden handle at top. The stand is unadorned except by ring handles and air slits.
Designs for a Watchcase Lid or Medallion and Flowers
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase depicting a New Testament Biblical scene with Mary, baby Jesus and an Angel in a landscape with winged putti climbing a palm tree to the left. The figures are in a landscape with buildings in the far background, and a figure on a donkey. The scene is most likely taken from the Flight into Egypt. The roundel is flanked by two floral designs. The plate is numbered and signed.
Textile
, 1870–80
cotton Technique: printed on plain weave

Fragment showing small purple and brown flowers with white centers on a dark brown ground.
Samples
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction fabric inspired by a sixteenth century design in the Cooper Union Museum collection has a pattern of flower-filled urns and pairs of peacocks.
Sampler
Elizabeth Funk, American, 1813
silk embroidery on linen foundation Technique: embroidered in satin and cross stitches on plain weave foundation

The field is dominated by a large flowering plant growing out of a basket, surrounded by small floral motifs and sheep. With a floral vine border at the top and bottom. The edges are trimmed with gathered blue ribbon, with ribbon rosettes in each corner. In the upper left corner, a small oval contains the inscription.
Drawing
Michel Angelo Pergolesi, Italian, active ca. 1760–1801, Before 1774
Pen and ink, with colored gouache on white paper

Horizontal rectangle. in the center, in a circular medallion, Jupiter sits on a cloud. From this central ring radiate rhomboid forms, two of which are decorated with grotesques and arabesques. Three outer rings show panels of arabesques alternating with figure panels.
Fringe
, 17th century
silk, metallic thread (gold strips wound on a silk core) Technique: soumak weave

Red and gold metallic thread form a soumak heading. Band in a trellis design of gold metallic thread above skirt threads of twisted red threads.
Fringe
, 17th century
silk Technique: woven

Red fringe with a patterned heading, wide band in a trellis pattern and skirt threads.
Farm House, North Carolina
John Mackie Falconer, American, b. Scotland, 1820–1903, 1880
Etching on paper
Print

A thatched-roof cottage with figures outside.
Drawing
Felice Giani, Italian, 1758–1823, 1790-1800
Pencil. Pen, ink; Chinese ink. Sepia wash. Paper

Hector in armor listening to a kneeling woman who implores him; Hecuba (?). What apparently is Priam stands behind her, putting his right arm around a girl with a Trojan cape. Bordering line. Paper margins.
Design for a Bedroom Ceiling
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Pen and brown ink, brush and white gouache on board
Drawing

Long, rectangular design divided into squares and rectangular sections. Design with tendrils and foliage indicated in white gouache, inside two similar borders. Lower half unfinished.
Youth Sitting by an Urn and Other Figures, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Only state
CIncinnatus Summoned from the Field, study for the "Storia di Cincinnato," Gallery of the Villa Sacchetti (Now Chigi), Castelfusano
Pietro da Cortona, Italian, 1596 - 1669, 1626–1629
pen and brown ink
Drawing

Romulus or Remus Defining the limits of Rome with a Plow
Towel
, 19th century
linen Technique: withdrawn element with darned motifs on plain weave

Long vertical panel with three broad bands of symmetrical decoration in drawn work: birds, flowers, star-in-medallions, flowering vase and confronted lions, bird and flower guard strips. Untwisted fringe with deep macramé heading attached by hand stitching at one end. One plain selvage. Tiny initials "M.O.S." in red cross-stitch in center of towel.
Textile
, 19th century
cotton or hemp, silk, gilt paper Technique: tied resist patterning in warp (ikat)

Two panels stitched together in a design of vertical bands of warp ikat in dark brown reserved in cream, separated by thin stripes of red and orange, and two wide vertical bands of embroidery in white and orange silks with a little blue and yellow. Some of the small motifs are couched in linen wound with gilded paper. Embroidery design shows tall unidentifiable figures, scattered with several small bird symbols and curving cone-like forms. Abstract, angular and sinuous ikat designs suggest animal or plant forms. Stripes are ornamented with free shuttle weaving.
Painted ceiling
, ca. 1810
Pen, Chinese ink. Brush, various water colors; oxydized white heightening. Blue paper;
Drawing

Horizon rectangle. Outside are two framing bands. The scheme of the decoration is that of an ovoidal frame supported by obliquely disposed spherical pentagons. In each of these is a dancing girl in classical attire. In the lunettes are festoons and birds at the sides, butterflies at the ends. Lamps hang in those of the sides, flower baskets in those of the ends. Inside the ovoid are tow circular medallions, the left one shows a sacrificing couple, the right one Ariadne in a chariot drawn by panthers, with some companions. The frames are connected in the middle by a bar. Outside are four trophies of pastoral objects.
Design for a Salon Entrance
, 1790-1800
Pen and ink, brush and yellow, rose water color, graphite on paper
Drawing

Four embedded and fluted columns of Corinthian style support the entablature and form five bays. Mantel piece with arched looking glass in the center. Then follow sofas before oblong looking glasses. Outside: arched folding doors. Reliefs in the space between the capitals. Underneath: the scale. Paper margins. Reverse: Section of a bracket; account, pencil.
Study of clouds, Rome, Italy
Francis Augustus Lathrop, American, 1849–1909, 1893–1894
Brush and watercolor, gouache, graphite on paper
Drawing

Sketch of a clouds.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Argentan lace with an elaborate floral design.
Coat
, 1775–1800
silk compound weave embroidered with silks, and lined with silk twill weave Technique: embroidered

Blue and green changeable silk coat with collar, cuffs, pockets, and front and back openings embroidered with soft polychrome silks in design of icicles with pendant sprays of minute pansies, daisies and pinks; alternating with monogram "I.C.", decorated with rosette and feathery foliage. Lined throughout with ivory silk plain twill. Buttons covered of same material and embroidered with minute flowers. Sleeve lining of linen plain cloth.
Pieta
Hendrik Goltzius, Netherlandish, 1558 – 1617, 1596
Engraving on off-white laid paper
Print

This pieta is modeled on the style of Dürer's engravings from the 1520s.
Study for a Kneeling Woman
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Charcoal on tracing paper
Drawing

Kneeling woman shown in profile, facing left.  She is raising her left arm; the hand is not shown.
Print
, About 1720
Black ink on white paper

Vertical rectangle. A carved wood and wicker chaise-lounge is seen above in a room with a matching chair. A door connects with another room, right background. Below, designer's names.
Fragments
, 17th century
silk, metallic Techmique: green silk plain weave brocaded with metallic

Metallic leaves facing in alternate direction on a green background.
Textile
, 17th century
silk, metallic threads Technique: plain compound weave

Repeats of a floral design in tan on blue background. Border with flowers and animals in multicolored silk. Lined in red wool.
Fragments
, ca. 1730
silk Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Woven textile fragments. Pattern showing tree stump with fruit and flowers brocaded in yellows, blue, red and browns on a tan ground with horizontal ribs formed by extra wefts.
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Graphite on paper
Drawing

Sketch of reclining figures.
Fragment
, late 18th century
silk, metallic thread Technique: warp-faced plain weave patterned by continuous and discontinuous weft floats

Fragment of a cream-colored silk with diagonally intersecting lattice of silver and cream-colored threads. Over this lattice are yellow pieces of fruit and delicate curving floral vines in green, red and blue-gray.
Waistcoat
Jean-Michel Moreau le Jeune, French, 1741–1814, 1785–95
silk and metallic embroidery on silk foundation, linen back Technique: embroidered in silk in knot, stem, and satin stitches; metallic yarn in satin stitch; couched silk cord; appliqué of three plain weave silk fabrics; on plain weave foundation Label: silk embroidered with silk and metallic yarns in knot, stem, satin and couching stitches, with appliqué

White silk waistcoat with high stand collar and straight hem edge. Very deep border at front edges of a curving, flowering vine. At the bottom, embroidered figures in classical dress stand in front of a stone balustrade with urns of flowers and fruit trees. The figures represent  Dido, Queen of Carthage, and the Trojan hero Aeneas, from the opera entitled Didon by Piccini and Marmontel, produced in 1785. The figure of Dido is after a drawing by Jean-Michel Moreau le Jeune for the costume worn by Mlle. de Saint-Huberty. In twenty-five colors of silk.
Rest During the Vintage
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

A girl is seated upon, another leans against, a barrel, at left. Two seated girls in the center. A boy leaning upon a drinking donkey, at right. Mountain range in the rear.
Marchand d'Amour
Hippolyte Le Bas, French, 1782–1867, ca. 1820
cotton Technique: printed on plain weave
Fragment

Fragment shows medallion with lovers and the figure of Time breaking scythe.
Study of a Woman's Head
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a woman's head, after A. Watteau. The woman is seen in profile, looking downwards. She wears a necklace with a black ribbon at the back of her neck. Her shoulders are suggested with a few lines but left incomplete. The plate is numbered and signed.
Bird and Anemone
Morris & Co., London, England, designed 1882
cotton Technique: printed
Textile

Design of flowering branches and perched birds, in pink on a red ground.
Study of a Woman in Profile
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a woman in profile, looking to the right. Her hair is tied back, and the neckline of her dress is sketched. The pate is signed and numbered.
Program of Fontainbleau Theater, October 13–November 17, 1777 (Repertoire de Fontainbleau)
Louis-Simon Lempereur, French, 1728 - 1808, 1777
Engraving on paper
Print

The program is surrounded by a horizontal rectangle frame with female allegorical figures and puttis. On top a profile portrait of Louis XVI in a medallion. Inscribed, lower right: "L. Lempereur Sculp."; lower right: "J. M. Moreau le Jne inv."
Escutcheon
, ca. 1790
Brass

Elliptical, with repoussé mouldings surrounding keyhole.
Interior of a Bedroom
Unknown, 1820s
Brush and watercolor on white wove paper
Drawing

This view features a woman's bedroom, identified as such by the bonnet next to the ribbon-framed mirror and the blue slippers at the foot of the bed. Scandinavian design is shown in the bed at the right, draped in white cotton; curtains-to-match hang at the large French windows in the rear of the room. The ash-colored wooden furniture along with the wide wood planked floor and buff-colored walls indicate that this may be a summer retreat or hotel. Views of the countryside are seen through the windows.
The Antikamnia Calendar, March and April, 1897: 'Tis The Genuine
Louis Crusius, American, 1862 - 1898, 1896
Chromolithograph on paper with string binding
Calendar

March and April, 1897.
Design for Cartouche, from "Cartouches Nouvellement Inventez"
Charles-Nicolas Cochin the younger, French, 1715–1790, 18th century
Etching on paper
Print

Empty cartouche framed with banners, scepter, garland, putti with shields and fasces, sheath of arrows; mask, below a nude woman with satyr; and two griffins.
Sidewall
Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, 1910–1920
Machine-printed paper

Deep green stylized floral stripe printed over background of pin dots and minute swirls. Printed on lighter green ground.
The Japanese Salon, Villa Hügel, Hietzing, Vienna
Rudolf von Alt, Austrian, 1812 – 1905, 1855
Brush and watercolor, gouache, graphite on white paper
Drawing

This salon exhibits a riot of Chinese/Japanese motifs. The walls are hung with wallpaper panels decorated with leaves, birds and large ceramic figures. A lantern, suspended from a palmette canopy centered in the ceiling, is designed in a large circular fish scale pattern. The black japannned and cane furniture is typical of the Victorian period. The floor covering appears to simulate tatami matting. Two large seated statues in costume flank French doors on the right. A mysterious seated figure in the left foreground holds a mask to his face with one hand; an unidentified object, perhaps also a mask, is in the other hand.
Table round
Unknown, ca. 1910
cotton Technique: stenciled and embroidered on plain weave, crocheted border

Off-white table round has a discontinuous painted blue border containing a zigzag pattern in reserve and a black embroidered outline. Bottom edge has a large flowerpot also with a zigzag pattern that contains a flowering plant with two butterflies above. Two small flowerheads are in the upper left and right. Crocheted border.
Sidewall
, 1810–20
Block printed on handmade paper

Drapery paper with lace floral motifs and green clover design in center. Bunches of fabric on either edge. Foliate swags on far edges of paper. Printed in shades of gray, white and green on off-white ground.
Sugar Bowl
Samuel Kirk & Son, Baltimore, Maryland, USA, 1815 - 1979, 1830–1846
silver
sugar bowl

Sugar bowl (c).. of repoussé and engraved tea set consisting of teapot (a), urn with lid (b,e), creamer (c), sugar bowl (d).
Ornament Design with Apollo on his Chariot
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
etching and engraving on paper
Print

1921-6-212-7-a: Panel with central shell flanked by garlands of fl...;     1921-6-212-7-b: Design for candlestick (1921-6-212-6-b, 1921-6-212...;     1921-6-212-7-c: Panel with Apollo on his chariot, enclosed by a fr...