biglam/cooper-hewitt-alt-text huggingface dataset:
Log Cabin, Adirondack Mountains, New York
Frederic Edwin Church, American, 1826–1900, 1856
Graphite on gray-green wove paper
Drawing

Architecture sketch showing the front of a rustic log cabin in the Adirondack Mountains of upstate New York. Situated at center, the cabin features a covered porch and a steep gabled roof. A window and a door are visible beneath the porch.
Panel Designs of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two plates of grotesque panel designs. The upper plate features strapwork and scrolls, as well as masks, small animals like squirrels and snails, masks, and sphinxes. The lower plate has figures, such as sphinxes, angels, satyrs, as well as baldachins, birds, and masks. Neither plate is signed, but the letter "L" is printed at the bottom of the upper plate.
Design for a Trophy
Mathurin Cherpitel, French, 1736 – 1809, 1755–68
Etching on laid paper
Print

Design for a religious trophy hanging from a ribbon. The trophy includes liturgical objects such as a monstrance, cross, staff, pages with lettering, ewers, and candles, with leafy sprigs with berries. The address is lettered below.
Rocaille (rococo design), in Nouveaux morceaux pour des paravents (New concepts for screens)
François Boucher, French, 1703–1770, 1730s
Etching, engraving on white paper
Print

A shell-work fountain on a mound of rockwork in the foreground, with two monkeys at the left. In the background, a temple portico houses another fountain, with vase and pyramid beside it.
LE CHÂTEAU DE MARLY
Adam Perelle, French, 1638 – 1695, 1676–1703
Etching on laid paper
Print

Birds-eye view of the chateau of Marly with its fountains, basins, and pavilions, with trees and river in the background. Sculptural groups and statues on plinths surround the chateau. In the foreground and throughout the paths, figures, horseman, and horse-drawn carriages. The plate is titled.
Design with Shepherd Sleeping Next to his Sheep
Hermelr, 18th century
Etching and engraving on off-white laid paper
Print

Scene of a rustic landscape with a sleeping shepherd and a flock of sheep.
Doorway
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a doorway.
Arriving at the Hall
Constantin Guys, French, 1802 – 1892, ca. 1860
Pen and brown ink, brush and watercolor on paper
Drawing

Vertical rectangle, bevelled corners. Figure of a woman in a low-necked white evening dress and a red shawl with long fringe, on the arm of a man who is holding his high hat in the right hand. Both seen in side back view. In background, groups of figures in conversation, two chandeliers and arched doorways with curtains.
Desigsn for Embroidered or Woven Floral Motifs of the "Fabrique de St. Ruf," Finished and Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Incised lines, brush and white gouache on glazed tracing paper pasted on paper
Drawing

Top: two pending flower boughs, incised. Center: two big pending flower boughs, finished, at right partly drawn over a leaf, incised. Bottom: leaves, incised lines.
Design for a Trophy
Polidoro da Caravaggio, Italian, 1499 - 1543, 1775–1800
Pencil, pen, brush and sepia on paper
Drawing

Horizontal rectangle showing a design for a military trophy. At center, a helmet in the antique style with a harpy crest. Below are two large shields, at left with grotesque motif. Below are piled a variety of arms including spears and a battle axe. At bottom left, a ram's head; at bottom right, a serpent's head.
Design for an Embroidery Motif
, 1790–1800
Pen and ink, brush and gouache on paper
Drawing

Rising flower rinceau, two waves forming the repeat. Purple and black strips at left.
Rock Cliff
Francis Hopkinson Smith, American, 1838–1915, September 8, 1878
Charcoal, black and white chalk on gray laid paper
Drawing

Vertical rectangle with large, flat-faced boulders with beams laying across the top at the center surrounded by large boulders and trees beyond; grass in foreground.
Square
, ca. 1870
cotton Technique: printed on plain weave

Square or handkerchief in a floral design with a central floral cluster surrounded by navy blue border. Deep floral border in shades of blue and red with a meandering vine pattern along the inner and outer edges.
Designs After Architecture Fragments
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments including tombs, statues, aedicules, cornice profiles, niches, vases. The plates are numbered but not signed.
The Production of Silk
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Pen and brown and black inks, brush and black wash over black chalk on laid paper
Drawing

Recto: Scene showing the introduction of the silkworm at the court of Emperor Justinian. At left, Justinian appears seated under a canopy, conversing with monks. One, kneeling at the king's right, gestures towards the process of silkworm culture, which is visible through a window in the background.
Elevation of Mansion
Whitney Warren Jr., American, 1864–1943, ca. 1894
Graphite, brush and watercolor on paper
Drawing

House elevation, front view.
Stage Design, Church Interior
Pietro Narducci, Italian, active 1809 - 1841, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic church with ogival vaults in foreground, rose window in background.
Clock
Jeremias Sautter, 1683 – 1708, ca. 1700
Gilt copper, painted iron

Iron clock face painted with scene from 4:4-26 in the Gospel of John, where Christ meets a Samaritan woman at the well. Hours marked by Roman numerals. Scrolling openwork on the hour hand. Above the clock face is a gilded cherub.
Ornament
, ca. 1820
Block printed on handmade paper

Kneeling female figure before a cage formed by trellis-work, in which a cupid is imprisoned. Pasted on a blue-colored support.
Fragment
, 19th century
silk, metallic Technique: woven

Yellow ground with repeat of ornamental flowers on slender stems growing in shell-shaped vessel. Repeat in green, blue, rose, and gray silk extra weft and silver metallic brocade.
Sample
, late 19th century
cotton Technique: printed on plain weave

Woven cotton printed in black on white ground showing a pattern of poodles in a variety of playful poses.
Man
Robert Frederick Blum, American, 1857–1903, 1883
Pastel crayon on wove paper
Drawing

Sketch of a male figure wearing a hat and cape.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Wide-mouth vase with ram heads whose horns loop up to form small handles. The vase is decorated with fluting, egg-and-dart, and acanthus leaf ornamentation, and has a festoon draped across the front that connects with the ram heads. The vase is elevated on a base that extends to the edge of the image. The plate is signed and numbered.
Night View of a Seaport
Frederic Edwin Church, American, 1826–1900, 1868-1869
Oil paint and graphite on paperboard
Drawing

Landscape study showing a view of a coastal city at night, seen across a bay. In the foreground at right, a shoreline is visible with a sailboat anchored nearby. A lighthouse on a small island is shown in the middle distance at right, shining its orange-red light toward the viewer. The buildings and lights of a city are visible along a hilly coastline in the distance at center. In the background, a range of hills creates an undulating horizon. Above, one twinkling star hangs a twilight sky rendered in a gradient from yellow-green to aquamarine.
Landscape with Bridge
, 1770–1800
Black crayon, pen and ink on paper
Drawing

Mountainous country. In the foreground, at left, a cluster of trees. In the middle distance, a town. A bridge crossing a stream leads to it.
Design for a Hand Bell in Neo-Renaissance Style
, 1825
Pen and ink, brush and wash, graphite on paper
Drawing

On a sheet of Chailleat's drawing book. The handle consists of volutes, with the heads up children above. Below, in the interval, are masks. On top is a ring, The main part of the body is decorated with a frieze with the papal coat of arms of the Revere (the only pope, theoretically possible, would be Innocent IX, 1591) above a tablet and between two standing angels. The framing molding above it resembles two cornices of a pediment, with a shell on top. Two men, sitting, lean against the cornices.
Design for a Console Table with Candlestick and a Bed
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and bistre wash on off-white laid paper
Drawing

Vertical rectangle. At left, console table supported by two legs, ending in lion feet, legs fluted columns topped with eagles. Candlestick on top of the table consists of a monumental column with a lamp on top, at which two arms are fastened, each with a burning candle. At lower right corner, profile view of a bed standing below a canopy in the shape of a tent. Background colored with brown wash.
Fragment
, 19th century
cotton, silk, metallic thread Technique: embroidered on plain weave

Design of conventionalized floral forms arranged as band or border. Embroidered in red, orange, pink, green, yellow, and brown silk and gold thread. Enclosed by a dark green border.
Fragment
, 16th century
silk, linen Technique: plain compound satin

Circular medallions and arabesques in yellow and green. Stylized foliage forms six-sided design separated by oval frames.
Chambre à Couchée
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of a bed room viewed from the length. The room is decorated with a mantelpiece, chairs, and panels with ornament motifs including branches, busts on pedestals, acanthus leaves, ribbon twist, floral motifs, and mascaron. The plate is numbered.
Two Designs for Hand Fans or Frames
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

Two designs for hand fans or hand screens printed on the same plate, side-by-side. The fans or screens feature rococo motifs along the edges with the center left blank. The ornamental frames include sprigs, leaves, flowers, feathers, ribbons, rinceaux, fleurons, c-scrolls, s-scrolls, vases, rosettes, and leaves.
Elevation du devant ou facade du costé de la rue de la maison de Monsr. Roland à la ville neusue rue de Clery A Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade of a Parisian hôtel particulier (grand house) featuring windows, arched doorways or porticos, and pilasters, with a scale below. The plate is titled and signed.
Distant Iceberg at Sea, Canada
Frederic Edwin Church, American, 1826–1900, July 6, 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing a view of a distant iceberg at sea near the coasts of Newfoundland and Labrador, Canada. The foreground is comprised of rippling ocean water that brightly reflects the sun's glowing light. In the distance, on the horizon at center, a single iceberg is visible, highlighted in white gouache and characterized by its single prominent peak. Backlit, silver-lined clouds hang in the sky above.
Frame or Cartouche Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a frame or cartouche featuring festoon of flowers and laurel leaves, fruit, basket of flowers, scrolling acanthus leaves (rinceaux), acanthus leaf clasp, c-scrolls, and rosettes. The plate is numbered.
Bonnet veil
, 19th century
silk Technique: machine-made lace

Green bonnet veil patterned with conventionalized flowers that form three borders and rows across the field.
Figure
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a figure wearing a hat.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace decorated with ornament including acanthus leaves, garland, rosettes, ribbon twist, and egg and dart . The plate is signed
A parade float in Reggio, Italy: "Carro trionfale della Compagnia di S. Rocco" (The Triumphal Carriage of the Company of St. Roch). Plate 2b from A. Isacchi, "Relatione di Alfonso Isachi intorno l'origine, solennità, traslatione, et miracoli della Madonna di Reggio [...]" published by Flaminio Bartoli, Reggio.
Giovanni Luigi Valesio, Italian, ca. 1583 - 1633, 1619
Engraving and etching on cream laid paper
Print

A parade float: the carriage is drawn by two pairs of cattle toward right.  At the left of a crowned woman sit what probably represent wise and pious men of different ages and stands St. Michael.  In the paper scroll:  "Carro trionfale della Compagnia di San Rocco descritto a car.  69. no. 19"  (The Triumphal Carriage of the Company of St. Roch, described on page 69, no. 19).
Garden Pavilion and Latticed Gallery with an Alternative Design plate 365 from the publication "L'Art de Treillageur ou menuiserie des jardins"
André-Jacob Roubo, French, 1739–1791, 1775
Engraving on off-white laid paper
Print

Elevation of a domed garden pavilion with an arcaded gallery on either side.  The elevation is split in half and each section shows an alternative design.  The greatest difference is presented in the cupola.  Inscription across the top margin.  Indication of the scale at the lower margin.  Small inscriptions throughout.
Ornament and Panel Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Two plates of vertical ornament designs featuring arabesques and grotesques motifs printed on a single page. The designs feature Apollo's head, masks, quivers of arrows, spears, festoons of fleurons, cartouches, a lyre, strapwork, a shell, scrolling foliage, rosettes, acanthus leaves, and c-scrolls. The two outer designs are running patterns featuring scrolling foliage, c-scrolls, fleurs-de-lys, and fleurons. The plates are numbered, and plate 6 is lettered with the publisher's address.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

Ovoid vase with two strap handles that merge together and with the body of the form near the narrowed foot. A grotesque mask is carved at the point where the handles merge. On the outer side of the handles are two sirens. The foot of the vase is decorated with acanthus leaves, and has an egg and dart pattern at the bottom. The vase is elevated on a short, square base. The plate is lettered and numbered.
Courtyard
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Partial sketch of a courtyard.
Country House for a Literary Gentleman
Mario Asprucci The Younger, Italian, 1764 – 1804, 1764-1804
Print

The main building is a cube resting on a high base penetrated by "fountains of learning." At the summit is an observatory. Same as 1931-94-535 but printed in brown.
Fragment
, 4th–5th century
S-spun undyed linen warp, S-spun undyed wool and S-spun black wool weft Technique: slit and dovetail tapestry weave with soumak and embroidered details

Rectangular fragment from a garment or hanging. Wide decorated vertical areas on the right and left are connected by broad decorated transverse band. Linear black intersecting arcs form the outer border. On sides, black roundels and intricately constructed linear frames rise from plant motifs. Linear frames alternately enclose plant forms, birds, confronted birds and animals, some in the direction of the warp, some at right angles to it. Plant motifs tend to form linear and sometimes pointed trefoils. In transerve band at the bottom, similar plant forms support peacocks in a row. Just above, with a dark frame, two addorsed pairs of horned animals are within black squares framed with a pearl-like band. Above, interlocking spirals worked in soumak. Embroidery in two long vertical bands at sides. Soumak used for outlines of some motifs.
Watch Chain
, ca. 1800
Graphite on paper
Drawing

Composed of round and oval diamonds for the upper part in three rows.
Fame or Victory in a Chariot, Sala di Nike, Palazzo Naldi, Faenza
Felice Giani, Italian, 1758–1823, 1803
Pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Figure riding over clouds in chariot drawn by two horses, followed by two flying putti, one with trumpet and wreath. Temple front shown in central distance.
Textile
, 18th century
silk Technique: plain compound cloth, brocaded

Striped white taffeta with small-scale floral sprays brocaded in polychrome silks.
Montezuma's Palace, Mexico
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and gray-brown ink, brush and gray-brown wash on laid paper, lined
Drawing

Horizontal rectangle. Montezuma's palace complex with fantastic decorated buildings on large substructure. Shoreline at left, mountains at right in background. In the foreground, crowd of seated and kneeling figures worshipping or in supplication.
Paul Preaching in Athens, 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 from Paul Preaching in Athens, by Raphael.
Jar and lid
, late 19th century
Enameled porcelain, bronze

1926-22-181-a,b: Octagonal jar and lid decorated with a fight scene...;     1926-22-181-c,d: A jar and lid decorated with a fight scene in enam...
Playing card
, ca. 1855
Red and black ink, paper

At top: M 6 C; below central image: 4
Button
, 19th century
Steel

1931-59-249-b: Flat buttons ornamented with eight pointed star wi...
Pitcher
, 18th–mid-19th century

pink lustre borders
Sidewall and borders
, ca. 1810
Block-printed on handmade paper

Three pieces of architectural elements. a) contains the top border and a portion of the sidewall. The pilaster capital is centered between arches, each containing a central urn and flanking sphinxes. The arches contain a green background. Across the top edge runs a band of dentil molding. The sidewall portion contains a brick pattern with a small inset medallion containing an urn. b) This sidewall portion is a brick pattern with an inset medallion. The medallion contains a winged figure with a serpent and a flaming column. A pilaster along the left edge. c) is the bottom border. This contains the pilaster base with a lion mask in relief. This alternates with a laurel and ribbon swag. Printed in shades of brown, ocher, green and white.
Fragment
, 1760–80
cotton Technique: printed by engraved plate on plain weave

Fragment showing two seated women in conversation with a man eavesdropping and part of a scene with a man angry with a weeping woman. In brown on white.
Panneaux et Frisses propre aux Sculpteurs et Peintres Inventez et dessignes par Caffiery Sculpteur
Philippe, I Caffieri, French, 1634 – 1716, 1670–1700
Album

A series of ornamental panel and frieze designs featuring royal emblems, five plates including title page. Many of the plates are numbered and signed by the publisher. Two of the plates have a collector's mark (1921-6-484-5 and 1921-6-484-6). Three quarter leather binding with marbled paper boards and marbled endleaves.
The Three Sisters
Francis Seymour Haden, English, 1818–1910, 1868
Etching in dark brown ink on paper
Print

Three old leafless trees stand on a sandy knoll in the right foreground. In the left foreground, a rotting tree trunk.
Cachepot and liner
, Ca. 1765
Painted tôle, wire

Cylindrical container curving inward to a low foot. Wire handle at each side. Gold ground with chinoiserie decoration.
Album of Tableware Designs
Henri Sallembier, French, ca. 1753 - 1820, 1805
Album

Album of tableware designs (gold-and silversmiths' work) by Henri Sallembier. 36 plates published within 6 series (cahier) with Empire style motifs and ornament. The plates are titled, signed, and numbered. Bound in a 19th-century green Morocco leather (goatskin) binding decorated with gold tooling.
Frieze
, ca. 1850
Block printed on continuous paper

Large cloister or open courtyard. Courtyard contains two fountains and shrubbery.  Architecture is very gothic in style with cluster columns, trefoils, pointed arches and carved figures.  Figures in 16th century costume and dogs in the foreground. Acanthus band across top. Architectural elements are printed in grisaille while figures are printed in polychrome. Contains just over one repeat.
Pleated fan
Thomas Allom, British, 1804–1872, mid- 19th century
Gilded and painted paper leaf with chromolithograph, gilded, pierced and painted ivory sticks, gilt bail, chain and tassel

Pleated fan. Paper leaf with chromolithograph showing decorative designs and Turkish scenes. Obverse, from left: the Bosphorus with the sultan's barge; figure smoking a hookah; a slave market in Constantinople, after engraving by Thomas Allom; a woman with fan, the hippodrome, with mosque of Achmet, column of Constantine and Egyptian obelisk. Pierced and gilded ivory sticks painted with flowers and nautical scene. Gilt bail, chain and tassel.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, ca. 1915
silk Technique: compound satin weave

Reproduction textile in design inspired by a textile in the Cooper Union Museum collection. Pattern has broad vertical stripes of a fine checkerboard pattern alternating with stripes of flowers and bells.
Study of Dogwood
Sophia L. Crownfield, American, 1862–1929, early 20th century
Pen and ink, graphite on tracing paper
Drawing

Horizontal sheet depicting four sprays of dogwood with two single blossoms.
Skeins of yarn
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1910
linen

Six skeins of yarn in various shades of green. Yarn purchased from a Scottish supplier and dyed by members of the Society.
Case
, late 18th century
shagreen

Tall tapered octagonal green case hinged 15mm from top and lined with red velvet.
Guilloche
, ca. 1780
Gilt bronze

From the drawers of a bureau. Advancing wave pattern, with acanthus leaves introduced between the volutes.
Fringe
, 18th century
silk Technique: plain weave

Green fringe with a plain weave heading and skirt threads tied at the top by a running thread inserted into the trellis band.
A Right Foot
Francis Augustus Lathrop, American, 1849–1909, 1880–95
Graphite on paper
Drawing

Sketch of a right foot, obliquely shown.
Costume Design: Heroic Force for a Ballet
, ca. 1720
Lead pencil, pen and brown ink on paper
Drawing

Vertical rectangle. Hercules is shown frontally, clad in a lion hide. The right hand leans upon a club, his left had carries the Apples of Hesperides.
Fragments
, 17th century
silk Technique: 5-harness satin damask

Yellow damask with an allover design of a large scroll pattern. Selvages present.
Fragment
, 18th century
linen Technique: bobbin lace (Mechlin-style)

Fragment of Mechlin lace with conventionalized floral spray with broad leaves. Variety of "fond de neige" ground.
Cap
, 12th–13th century
silk, linen, gold

Cap with a tan linen foundation. Blue silk and linen plain cloth covering quilted to the linen. One line of gold over top of crown. Stripe of gold placed vertically on band of cap. Rosette and quatrefoil embroidered with linen eyelet centers and gold outline.
Cordonnier, pl. II from "Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers"
Denis Diderot, French, 1713–1784, 1771
Engraving on paper
Print

Cordonnier pl. II???
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Pale blue velvet made up of four fragments sewn together. Design of a bell shaped flower with three petals.
Peep-show, Le Port Du Vieux Toulon
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Black chalk on heavy laid paper

Shown in profile turned toward right.
Cap crown
, 18th century
linen Technique: bobbin lace, Brussels style

Worked with a floral design and central floral motif.
Border
, 17th century
linen Technique: bobbin lace, discontinuous tape

Border with a stylized scrolling vertical form alternates with a more expansive scrolling ornament with floral forms and flower heads.