biglam/cooper-hewitt-alt-text huggingface dataset:
Views near Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 10, 1857
Graphite on light brown wove paper
Drawing

Landscape sketches showing three views of plants, buildings, and terrain near Guaranda, Ecuador. At upper right, a house with a terra cotta tiled roof is shown upon a rise in the ground, surrounded by bushes and two trees at right. A road passes in front of the house, flanked by a gate at right and possibly a shrine at left. A mountain range is faintly visible in the background. At lower right, an immense, bulging mountain range is visible with a sharp peak at upper right. The range descends to a cleft at left, beyond which another rugged mountain range is shown. At upper right, a small sketch of a vine of the taxo, or banana passionfruit plant is rendered in some detail. The plant's leaves, buds, and blossoms are all clearly articulated.
Maple Seed Vessels
Samuel Colman, American, 1832–1920, ca. 1884
Pen and ink, graphite on grey paper
Drawing

Studies of maple seed vessels and plant leaf buds. Recto, top: hanging boughs with leaves and maple seeds; bottom: five designs of bough tops with leaves and leaf buds. Verso: four designs of bough tops with leaves and open leaf buds.  Some sketches partially redrawn in ink.
Panel Design (Right Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

A design for an ornamental panel, pasted to the right of another design. The design features rococo and chinoiserie (in the Chinese style) motifs with an ornately decorated frame featuring c-scrolls, fleurons, shells, sprigs, flowers, leaves, rinceaux, birds, and a vase on a plinth. In the center there is a woman seated within a fantastical landscape with grasses, leaves, palms, vases on plinths, and a canopy with vases as finials, the rest of the background is blank. The plate is numbered and signed.
Design for Snuff Box, Cardinal Consalvi, Papal Secratary of State to Pius VII
, 1824
Pen and ink, brush and watercolor on paper
Drawing

The drawing below right. Only the lower right quarter is entirely executed.  Concentric circles of gems.
The Oritani
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper
Frieze

Repeating design of stream with canoes carrying Indians, some carrying rifles, some fishing. Trees form a band in the background. Printed in top selvedge: Antiseptic Pat'd 8-9-04, and Wm. Campbell-Wall-Paper-Co., with color register marks; printed in bottom selevedge: The Oritani, Aegli Desgr, 5015. Printed in greens, red and browns, the trees in "a" largely green, and those in "b" in brown.
Sample
, late 19th century
cotton Technique: printed on plain weave

Printed cotton with red and black plaid on a white ground.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1822
Cast bronze
Medal

Bust of Constantin François de Chassebœuf, comte de Volney (1757 - 1820) to the left.
Stage Design, Interior of a Country Lodging
Angelo Toselli, ca. 1765? – 1826, late 18th century
Pen and brown ink, brush and sepia wash on paper; verso: graphite
Drawing

Horizontal rectangle. Vast high hall with chimney piece. Two barrels standing on the left, wooden roof beams visible.
Six Studies of Sailboats
Winslow Homer, American, 1836–1910, ca. 1880
Graphite on cold pressed paper
Drawing

Horizontal view of six studies of sailboats, with the most finished one, at right center, showing the sailboat and two row boats against a rocky coast.
Autumn Landscape in North Carolina
Frederic Edwin Church, American, 1826–1900, September–October 1880
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of river in the mountains of North Carolina, possibly the French Broad River. Rocks and a sandy river bank comprise foreground with river rapids in middle distance, rendered with thickly-applied paint. Rolling hills backdrop the scene an are bathed in the rosy light of the setting sun. Tree and hillside at right enshrouded in shadow.
Fragment
, 1750–1800
silk, metallic thread Technique: cut voided supplementary warp pile in a compound twill foundation (velvet)

Small-patterned or "miniature" velvet with a tan ground striped vertically with twill and plain weave shot with flat silver strips. Very narrow vertical stripes of minute rosebud in pink, red, green, and white cut pile. Between buds, flat strips of gold brocaded.
Stage Design, Court in Old Building
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Vertical rectangle. Court of old building seen through archway.
Table Design with Vases
Pierre Lepautre, French, 1652–1716, late 17th–early 18th century
Etching on laid paper
Print

Two console table designs with garniture of vases placed on top. The table at the left has nine vases; on either side of the central vase, the forms are mirrored, but the designs are different. The table on the left has a divided design. In the center of the cornice is a carved portrait bust; to the left the cornice is decorated with small flowers, to the right, a rosette design. The left leg of the table features a mascaron on top, with acanthus leaves winding around the leg. The right leg of the table features a bust with wings and a feathered headdress; the leg is wound with flowers. At the center base of the table is a vase filled with flowers and supported by harpies. The console table on the right is narrower, with seven vases; on either side of the central vase, the forms are mirrored but the designs offer variations. The design of the table is divided; either side features variations of flower, scallop, and acanthus leaf ornamentation. At the center base of the table is a carved figure of a putto holding a vase on his head. The plate is not signed or numbered.
Gondola
, mid-19th century
Silver filigree
Miniature

Silver gondola with cabin and two rowers.  The cabin, which is hinged at the back, contains a seat and a swinging door.
Title Page
Claude Gillot, French, 1673–1722, 1749–61
Etching and engraving on laid paper
Print

Title page from a series of bifurcated arabesque/ grotesque ornament panel designs, intended to be used with a mirror to illustrate a full-page effect. The title is lettered in the center within an architectural frame, a roundel above on a lintel flanked by incense burners, supported by four atlases (sculpted male statues as columns) with a base below. Framed by a canopy, a male figure seated above with a swan, with grotesque ornament featuring birds, fleurons, rinceaux, c-scrolls, s-scrolls, drapery, strapwork, scrolling acanthus leaves, vases of flowers, and festoons of flowers. The publishers' address is lettered below.
Table cover
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: cutwork and embroidery

Cover ornamented at the corners and sides with a conventional design in cutwork squares and embroidery. Central field marked into squares by hemstitching.
Stage Design, Palace Interior
, 1815
Pen and brown ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Interior of palace hall toward short side, here stairs are leading upward to galleries running below the ceiling on both long sides.
Design for a Chimneypiece
Pietro Camporese the Younger, Italian, Roman, 1792–1873, 1830
Pen and black ink, watercolor, black chalk indications on paper
Drawing

Design for a mantelpiece.  The mantelpiece is depicted at the center of the composition, imbeded into a wall.  In the fireplace design itself, laterally are pilasters with trophies hanging by a ribbon from a rosette.  The central part of the projecting upper frieze is decorated with a relief of a Roman emperor, receiving captives.  Classical helmets are in each of the two corners of the frieze.  There is burning fire illustrated in the fireplace.
Design for a Throne of the Priest of Bacchus, after Ancient Marble
, ca. 1800
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Page divided vertically. At left, a view of the throne from an oblique angle. At right, an elevation. Scale below. Throne back is a square form decorated with the Bacchic symbols of grapes and musical instruments. The arms and forelegs of the throne are in the form of griffins, whose wings transform to volutes with beadwork. Between the legs are two masks flanked a vase with lion handles.  The seat back is decorated with the hide of a boar, possibly that of the mythological Calydonian Boar.
Sampler
, mid-19th century
silk embroidery, linen foundation Technique: cross, birds-eye and satin stitches on plain weave

House, horse, flowers and alphabets with a floral border.
Fragment
, late 17th century
Tin-glazed earthenware

Fragment of a bowl with tin and cobalt glaze on surface of earthenware. Decoration shows flowers encircled by three lines.
Studies of Cows
Samuel Colman, American, 1832–1920, 1860–70
Graphite on cream paper
Drawing

Studies of the eyes, ears, and udders of cows. Verso: studies of the ears, eye and head of a cow. Notes on colors, both sides.
Key Plate (Escutcheon) Designs
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Two half designs for key plates or escutcheons decorated with scrolling acanthus leaves, foliate scrolls, rosettes, sprigs, rosettes, fleurons, terminal figures, birds, masks, shells, baskets and cornucopia of fruit and flowers, putti, dolphins, crown, arms and armor, Apollo's head surrounded by sun rays, and a sphynx.
Design for Embroidery Pattern
, before 1916
Graphite, brush and ink on paper
Drawing

Embroidery pattern
Design for Fountain with a River God
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a fountain pouring over stairs. The space features a distant landscape, a classical building, and the fountain is decorated with a flaming urn, a river god, sprays of leaves, putti, and attributes of war in the lower left. The plate is signed and numbered.
Mossy Boulder, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August 1845
Oil on cardboard
Drawing

Landscape sketch showing a detailed view of a large moss-covered boulder in or near the town of Catskill, New York. Dominating most of the composition, the boulder is situated in the immediate foreground. In addition to numerous fissures and cracks, its surface is decorated with large, gray-green patches of moss and lichen. The numerous blades of grass that surround it are clearly delineated. In the background, the trunks of three trees are visible against lightly applied green paint, through which the brick colored ground is visible.
Ceiling Design for Room in Palazzo Quirinale, Rome
Felice Giani, Italian, 1758–1823, 1812
Pen and dark gray ink, gray wash, black chalk ruled lines on light greenish-beige wove paper
Drawing

Ceiling divided into 5 rectangular and 8 triangular compartments, corresponding to coved ceiling. In center of each side, horizontal rectangle with lunette; each lunette has central standing figure flanked by two seated figures. One standing figure holds lyre (other figures hard to decipher). In each of 8 triangular compartments is dancing female figure holding wreathe above her head and facing corner, which apparently was to receive stucco decoration. Central panel remains blank, apparently for painting by another artist.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, entablature on top. The panel is light green with a decoration in dark green with some white. Rows of circular petals in oblong coffer forms are surrounded by dense decoration of small-scale floral motifs. Four purple stripes of increasing heights are drawn on the top.
Rooftops, Switzerland
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan wove paper
drawing

Architectural sketches of building roofs in Switzerland. At right, a roof with a cupola is shown. At lower left, a building with a three-tiered roof is included, while along the upper margin, sketches of a pyramidal roof and a chimney are visible.
L'Amerique
Marie Michelle Blondel, French, active mid 18th century, 1736
Etching on paper
Print

An allegorical female figure representing America from a series of four. The female figure is topless and seen from behind in a landscape with palm trees and cacti. She is leaning over a crocodile or alligator and holds an arrow in her hand. Feathers in her hair and around her skirt with a quiver of arrows leaning against her.  The vignette is framed by a scrolling cartouche with a shell in the upper center. The plate is signed and titled, signed, and dated.

The artist, Jacques Dumont (Le Romain) painted an overdoor panel of this exact composition, signed and dated 1742, which was originally installed in the Parisian townhouse of Samuel-Jacques Bernard (1686-1753), and now on display in the Rothschild Room in The Israel Museum, Jerusalem (acc. No. 174.69).
Saint Joseph and the Infant Savior
Giovanni Vitalba, Italian, 1783 - 1792, ca. 1765–1785
Engraving in brown ink on cream paper
Print

St. Joseph stands to the right of the table, with his arms protectively out for the Christ Child, who stands on the table, supporting himself by his hands on St. Joseph's chest.
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 rondels, aedicules, pediments, balustrades, and trophies. The plates are numbered but not signed.
Design for an Illustration: "Architecture"
Fedele Fischetti, Italian, 1734 - 1789, 1760–89
Brush and gray wash on cream laid paper, ruled border in pen and black ink
Drawing

Standing among remains of classical architecture, a woman points at a plan held by two putti. She carries instruments for measurement in her left hand. A third putto measures a capital. Bordering line. 
Verso: fragment of a design; pencil, pen. Volutes are connected by intertwined bands.
Plate 3, Developement d'un Trumeau de glace fait pour le Portugal (Design for a Pier Glass with Varation for Portugal), Oeuvre de Juste-Aurèle Meissonnier (Works of Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1740
Engraving on white laid paper
Print

A variation of "le Portugal" wall decoration and pier mirror showing a tall center pier mirror flanked with candelabra, rococo console, and table below. On wall at left, a wall bracket with a large covered vase at top, two small covered vases below, and a mask. At right, a wall bracket with nude male bearded figure holding a sheaf of wheat (?).
Study of Hand for "Martha Reproved"
Daniel Huntington, American, 1816–1906, February 1855
Graphite, white chalk on buff wove paper
Drawing

Right hand of woman shown, palm away and thumb up, with sleeve outlined in background.
Motif for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on paper
Drawing

A seated, winged woman is shown from the front, her left hand leans upon a book, the right hand is raised, holding a wreath.
Design for the Obelisk of St. Dominic, Piazza San Domenico Maggiore, Naples
Domenico Antonio Vaccaro, Italian, 1678–1745, ca. 1737
Pen and brown ink, brush and brown wash, black chalk on cream laid paper
Drawing

Lower section consists of a bilateral design for a hexagonal platform with posts with alternate suggestions on each side. The platform is shown from above. The obelisk is divided in many sections. The plans of the lower half are hexagonal. Various ornaments decorate the sections, including a mermaid, brackets with urns, and an escutcheon with cherub above.
Angels stand on brackets and there is a bust of a Pope on the frontispiece. At top of pedestal, seated and kneeling angels carrying a sphere upon which a saint stands. There is a dog with a torch beside him.

(Study for plague monument in Piazza before S. Domenico Maggiore, Naples.)
Buttons
, 1852–70
Brass

Three circular convex buttons ornamented with shield with eagle, on fasces, on crossed flags - officer in the general army 1852-1870.

Component -b is on card H
Component -d is on card i
Decorative Panel Design
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for a decorative panel featuring arabesque and floral motifs including festoons of flowers, flowering branches, draped textiles, scrolling acanthus leaves (rinceaux), s-scrolls, and fleurons. The plate is numbered.
Desk
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a four-legged desk with round top.
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (flint lock, butt) decorated with grotesque ornaments, military trophies, mascarons (masks), eagles, putti, animals, roundel portraits, festoons of leaves, scrolling leaves (rinceaux), drapery, ribbons, cartouche, rosettes, and fleurons. The plate is numbered.
The Hermit
Jan Lievens, Dutch, 1607-1674, mid- 17th century
Etching on paper
Print

A robed figure seated in a darkened space, seen in 3/4 view, hands in lap.
Design for Decoration of a Bed Alcove
Gilles-Marie Oppenord, French, 1672–1742, ca. 1725–50
Pen and red and black inks, graphite on paper
drawing

Slightly more than the left half is shown. Glass "glaze" extends over the back wall. A curtain is suspended from a canopy and held back by a putto and is slung around an apple tree. A pair of billing doves on clouds in the ceiling cove.
Quilt
, ca. 1780
cotton Technique: copperplate printed on plain weave

Obverse is comprised of two pieces of toile. The design is known as "The Victory of Washington" or "The Apotheosis of Franklin." Reverse is made of three pieces of toile depicting rural festivities, including a maypole dance. Bound on the edges with white tape.
Fragment
, 6th–7th century
Warp; Z-twist S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry woven with supplemetary weft wrapping

Fragment of a band.  One figure with hands raised at top (much destruction of wefts), at bottom two figures led be a rider on horseback
The Elevation of a Silver or Silver Gilt Tureen
Vincenzo Belli, Italian, 1710 - 1787, ca. 1750
Pen and brown ink, brush and gouache, watercolor on off-white laid paper
Drawing

The left half suggests a much richer decoration--with rocaille and floral motifs--than the right one. The handle at left is composed of scrolls and a sea harp, the right one of scrolls and a shell. Two putti hold an escutcheon on top of the cover.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page, with the text printed in the center of an architectural structure. Above the title is a carved oval rondel with a winged angel holding a horn and a wreath. This rondel is flanked by trophies and has a skull mascaron at the top. Below the title text is a tomb ornamented with egg and dart and acanthus leaf decoration. The plate at the right represents a large tomb, inscribed at the front with the letters "DOM," and adorned with putti draped under cloth and a large vase capped with a pinecone finial. Both plates are numbered but only the plate on the right features Oppenord's signature.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Partial sketch of a figure's leg.
Design for a Candlestick
Joseph Anton Seethaler II, German, 1799–1868, 1820-1835
Pen and ink on paper
drawing

The candlestick is in the shape of a censer. Topped by cupid in a chariot drawn by snails. Supported by a ring before which the foreparts of four swans are intended to carry four sockets. They are fastened to the legs which rise in the scheme of a tripod. The top section starts from a base upon which swans crouch. The bottom section stands with clawed feet on a plinth.
Sketches of Trees, Ecuador
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on gray-blue wove paper
Drawing

Botanical sketches showing seven views of trees and other plants. Upper portion of composition includes three drawings of threes, while lower portion features bamboo, visible lower left, and various branches with hanging vines.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1772–77
Etching on paper
Print

Six designs for military themed trophies incorporating leaves, drums, helmets, armor, spear, swords, flags, cannon, baskets, trumpet, and a rifle. The plate is numbered.
Mountain Landscape, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on gray wove paper
Drawing

Landscape sketch showing a view of a mountain valley in Jamaica. In the foreground at left, a steep slope descends into a deep valley, at center. Two structures are perched atop prominences on the opposite slope, at right. Floor of the valley visible in middle distance at center. Nearby mountain ridges extend into the background, where they meet a much taller mountain whose peak is cutoff.
Sidewall
, 1910–20
Machine-printed

Striped design. One stripe is 1 1/2 inch wide and consists of a tiny continuous floral motif of nose-gays alternating between one of roses and one of forget-me-nots. The wider stripe is two inches wide and consists of a continuous tiny leaf design in blue and tan. On one selvedge is printed: "U.W.P.C. of N.A. Union Made".
Ornamental Panel Surmounted by the Crowned Head of a Woman and Two Peacocks, plate 6 from the Livre de Diverses Grotesques peintes dans le Cabinet et Bains de la Reyne Regente, au Palais Royale
Michel Dorigny, 1617 – 1665, 1647
Etching with engraving on white laid paper
Print

Consists of two images on one sheet: a grotesque panel with a medallion as centerpiece, carried by two figures, surmounted by female mask; the grotesque design composed predominantly of wreath and floral scroll motifs.
Study of Two Chrysanthemums
Sophia L. Crownfield, American, 1862–1929, early 20th century
Graphite, pen and ink, brush and ink on yellow tracing paper
Drawing

A study of two chrysanthemums with long stems and leaves. At right, some details are sketched in graphite.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk Technique: complex woven

Silk textile with crepe woven green ground  has a staggered repeat of satin woven, large yellow roses.
Study of Amaryllises
Sophia L. Crownfield, American, 1862–1929, early 20th century
Pen and ink, brush and watercolor, graphite on tracing paper
Drawing

Vertical sheet depicting two sprays of amaryllis with foliage, outlined in graphite and brush and ink.  The centers of the blossoms are emphasized with red and white watercolor, while the leaves are shaded green and gray.
Design for a Processional Cross
George E Germer, 1868 – 1936, 1932
Graphite, brush and yellow, orange watercolor on paper
Drawing

In Gothic manner, with the symbols of the Evangelists similar to 1939-84-6 B. A knob, and the top of a staff, are at the bottom. Usual framing.
Cooper Union Museum Lace Study Card
, 16th century
linen Technique: needle lace
Fragment

Small rounded tab of reticella mounted on Cooper Union Museum Lace Study Card.
Fragment
, 18th century
linen Technique: bobbin lace, Mechlin style

Louis XV pattern, ''fond de neige''.
Dress for an ecclesiastical figurine
, 18th century
silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocaded); bobbin lace

Dress for the figure of the Christ child. Made from the same material as the dress for the statue of the Madonna (1931-43-8). Trimmed on sleeves, down the front and along the hem with silver lace. Bit of lace edged linen with ribbon at neck.