biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Brooch with Winged Boy
, 16th century
Pen and ink, brush and sepia on paper
Drawing

An oblong diamond is framed by an escutcheon. The figure of a winged boy at right supports a broken pediment. Left side incomplete.
Two Elevations of a Palace
Giuseppe Barberi, Italian, 1746–1809, 1792-1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Top: flights of stairs lead to an ovoidal platform on which the palace stands. A tower rises over a portico, which is flanked by two wings with small windows, in the central section. Domed wings project obliquely; two are suggested on each side. The connections between the wings are lower sections, over which obelisks are to rise. Bottom: the central section and two wings at left, in heavier proportions than above.
Two-masted Schooner
Winslow Homer, American, 1836–1910, ca. 1880
Graphite on paper
Drawing

Horizontal view of a two-masted schooner on the left, with a small sailboat on the right.
The Peak of Chimborazo, Ecuador
Frederic Edwin Church, American, 1826–1900, July 1857
Graphite, brush and white gouache on gray-green paper
Drawing

Landscape sketch of the peak of the stratovolcano Chimborazo in Ecuador. The peak is shown by itself at center, with its various snowfields, cliffs, and ravines rendered in some detail. The base of the mountain is loosely articulated.
Two Projects for Door Frames
, 1660–1670
Graphite, pen and ink, brush and watercolor on paper
Drawing

At left, a triangular pediment whose entablature is supported by balustre consoles. Inside is a circle with a star-like blossom. At right, a segmented pediment with shell. Below is a scale.
Button
, 1870–71
Brass

Circular buttons, slightly convex with words "Guarde Nat. Mobilisee".

Components -a,-b are on card i
Posey holder
, mid-19th century
Silver filigree

Upper part, a cone with three bands of filigree showing a flower pattern and two, a leaf pattern, silver pin on chain.  Lower part, an ornament of scrolls and flowers above an hexagonal ornament (each side decorated in design of roses with leaves) ending in three leaves; chain with ring attached to central ornament.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and design for four medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include a ribbon and rosettes repeat pattern, leaves, festoon of leaves, fluting, scrolling acanthus leaves (rinceaux), flowers, musical instruments, lute, horn, oboe, agricultural tools, rake, stick, basket, jugs, potted succulents, leaves, and a distilling apparatus. The plate is titled, signed, and numbered.
Chairs and Architectural Sketches
Giuseppe Barberi, Italian, 1746–1809, 1785–1795
Graphite on off-white laid paper
Drawing

Four chair designs with round seats.
Cooper Union Museum Lace Study Card
Cooper Union Museum, 19th century
linen Technique: needle lace
Fragment

Lace fragment with raised roses and conventional ornament. Fragment is mounted on a fabric-covered board and framed behind glass. Frame is natural wood.
Project for a slightly varied suggestion for the upper part of the pedestal and the figure with the dial in 1938-88-2109
Giuseppe Barberi, Italian, 1746–1809, 1790–1820
Pen and brown ink, brush and brown wash, graphite, on off-white laid paper
Drawing

An Egyptian figure holds a clock face marked with Roman numerals. On either side, a lion with drapery. He stands on a stepped base upon a plinth decorated with animal masks and festoons.
Cameo brooch and bracelet
, early 19th century
Carved shells, gold, cut velvet

One oval cameo (a) set as brooch. Six smaller oval cameos (b-g) with small connecting chains (one has slot for clasp). All seven with design of pairs of gods and goddesses with attributes; all mounted in gold. Ovals are sewn to a black velvet ribbon, brooch in center, flanked by three ovals from bracelet on either side.
Design for a Waistcoat
, 1785-1795
Pencil and various gouaches on paper
Drawing

Design for the embroidered border of a man's waistcoat. Two lilac stripes and a sketched crest border are shown at left. A palmette plant with a leaf and a plant with two feathery blossoms alternate in a vertical row, the repeats being separated by a scroll.
Design for a Cartouche
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

A cartouche configured to serve as a console. It is embellished with heads of dogs, clusters of grapes, garlands, and fruit. A fountain is at right, bottles and a large melon below. At left, a stag, a hurdy-gurdy with its horn and flags blowing in the wind.
Design for a Pendant
, late 18th century
Pen and black ink, brush and gray, green watercolor on light green paper
Drawing

Jewelry design for a pendant. Above a knotted ribbon; hanging from a green ribbon below is a small knot on top of a "roof" with six hanging rows of alternating blossoms and disks.
Earrings and Brooches
, 1825–30
Pen and ink, brush and sepia, gray watercolor on paper
Drawing

Above are earrings, each consisting of a ring with three stones, the one at right with a blossom, and one hanging band with stems with blossoms or buds of diamonds and leaves of metal. The brooch at left in the shape of an escutcheon, with a frame of volutes and branches, in the center a blossom of diamonds. The escutcheons of the other are framed by rows of diamonds with three groups of diamonds on top. That of the central one containing a blossom and two stems converging to it; the one at right contains to stems with diamonds and other diamonds.
Palazzo Pubblico, Siena
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1872
Brush and watercolor, black crayon on wove paper
Drawing

View of the main square in Siena, Italy, with tower and Palazzo Pubblico.
LA PEINTURE
Jacques de Lajoüe, French, 1687–1761, 1737–1745
etching and engraving on paper
Bound print

Print after an overdoor painting of an allegory of painting. A woman is seated on a platform within a landscape holding brushes and a palette. Trees in the background with a balustrade behind her, and a vase on a plinth to her left. Two putti sit at her feet, holding papers with images of bodies and faces, they are surrounded by musical instruments, sheets of music and sculptures. A flying putto is gesturing towards an ornamental rococo frame decorated with palm leaves and garlands of flowers. Within the frame are two male figures in clouds with a flying putto above. A large curtain hangs above to the right. The title is lettered below, and the plate is signed.
Sidewall
Ch. H. Geffroy, 1920
Block-printed paper

Printed for Nancy McClelland of New York City. A highly stylized design of single five to six petalled flowers in pink with mauve centers. Leaves are gray and white horizontal stripes. Printed in pink, mauve and white on slate gray field.
Ornament
Matthias Lock, ca. 1752
Etching on paper
Print

A plate of the same set as -51. Berlin 260. Circular. Rocaille opening with plant and a sphere, on top. In the background are colonnades and a fountain, at right. Framing line.
Rank badge
, before 1644
silk, gilded paper-wrapped silk thread Technique: plain weave with discontinuous wefts (tapestry or k'ossu)

Two parts of a rank badge with a pair of peacocks on a cloud background.
Title Page
François Roumier, French, 16..–1748, 1750
Etching and engraving on paper
Print

Title page for a series of corner details for frames, borders, or moldings. The title is lettered within a cartouche made up of scrolling leaves, acanthus leaves, gadrooning, dragons, rosettes, beads, and diaper patterns. The plate is numbered, signed, and dated.
Ornamental Vase Design
Louis Doré, French, active 18th century, 1750-1800
Etching on laid paper
Print

Vase design with dragon head pull handles; a garland emerges from the mouths of the dragons and loops over a rosette knob on the band of the shoulder of the vase. The mouth of the vase is scalloped, and there is a band of bound laurel leaves around the neck and above the shoulder of the vase. The foot of the vase is fluted, and the vase has a low, plinth-like foot. The plate is signed and numbered.
L'Afrique
Marie Michelle Blondel, French, active mid 18th century, 1736
Etching on paper
Print

An allegorical female figure representing Africa from a series of four. The female figure is topless with feathers on her head and seated in a landscape with trees, a lion, snakes, and an elephant in the background. 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. 173.69).
Horse Chestnut and Maple Buds Unfolding, Central Park
Samuel Colman, American, 1832–1920, April 26, 1880
Brush and watercolor, gouache, graphite on light grey paper
Drawing

At top, unfurled maple buds and a horse chestnut bud. Lower right, an unfolded chestnut bud. Verso: An unfolded chestnut bud and a sketch, in graphite, of an unfolded maple bud.
Seated Man with Beard
, 1800–1830
Pen and ink, brush and sepia on paper
Drawing

Seen in profile a gloomy looking man rests his arms on an armchair.
Chandelier d'autel
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a candlestick for an altar decorated with ornament motifs including rinceaux,winged  cherub heads on clouds, scrolls, and garland. The plate is signed and numbered.
Design for Ceiling, City Hall, Vienna, Austria
Friedrich von Schmidt, German, 1825 - 1891, ca. 1880
Brush and watercolor, pen and black ink, graphite on paper
Drawing

Vertical format. At left, part of a ceiling showing four panels with sixteen sides, a panel shaped like an equal cross, and four halves and four quarters. The cross is decorated with a blossom rosette at center and four palmettes. Two rosettes are suggested for the other panels with four different colorings of the background. Various designs for leaf stems; garlands are suggested for the bands representing the panels. Top right: a band with an acanthus rinceau between two strips. Bottom right: an octagonal coffer with a rosette. Eight designs are shown for the framing band. Half of the designs have different colorings. Rosettes are suggested in the panels and shaped like eight-pointed stars between the octagonals.
Design for a Woven Border
, ca. 1810
Pen and black ink, brush and wash, graphite on paper
Drawing

Plants grow horizontally beside the lateral points of a lozenge containing two spade leaves and two calyxes growing from a bead.  Motif is to alternate with another consisting of four calyxes surrounding a bead. Heart motifs grow from the upper and lower calyxes. Upper and lower framing stripes, one with row of beads.
Standing Male Nude
Daniel Huntington, American, 1816–1906, November 1866
Black and white chalk on tan wove paper
Drawing

Nude male figure seen from behind, standing, facing left, with right arm on staff and left hand on hip.
Design for an Interior
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Elevation of an interior with fluted columns with Ionic capitals interspersed with windows and panels. The ceiling is decorated with ornament motifs including scrolls, putti, and medallions. The plate is numbered.
Porte Cochere avec son Plan
Jean Mansart de Jouy, French, 1705 - 1783, 1760–90
Etching and engraving on laid paper
Print

Design for a set of exterior double doors decorated with rococo ornament and motifs. The doors feature central vertical curvilinear panels (boiseries) decorated with a lower clasp, and kocker, in the shape of a shell with foliate motifs, fleurons, and scrolling leaves (rinceaux). The lower panels of the doors are decorated with geometric parquetry designs. The arched tympanum above the doors features shell, rocaille, and foliate motifs, festoons of flowers and glass panels. The whole is framed by smooth-faced rustication. There is a scale and plan view of the door below. The plate is titled, and the signatures have been taken out at lower right and left corners. Another copy of this print is bound in this album 1921-6-359-1.
Design for a Console and Mirror
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on paper
Print

Console and mirror.
Stage Design, Oriental Temple
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Elaborately decorated temple buildings in the middle of a garden.
Frame
Giuseppe Barberi, Italian, 1746–1809, 1780–1799
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Oblong, with circular representations at the outer corners. On top are tow angels with the apocalyptic book; one raises a chalice. Laterally are garlands. Usual background.
The Catskills at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 1870
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view of the Catskill Mountains at sunset, as viewed from or near the artist's property known as Olana. Wooded hills rendered in hues of green and purple overlap one another in the middle distance, while in the background, the northern range of the Catskill Escarpment is streaked with the sunset's golden rays. Atmosphere above suffused in luminous orange light.
Design for a Console Table
, ca. 1810
Pen and ink, brush and sepia wash, gray watercolor on paper
Drawing

Horizontal rectangle. Design for a console table. In the center of the upper frame, an oval topped with a crown, the letter "N" inside, likely referring to Napoleon. At either side, two mermaids with long fishtail legs. Fluted table lebs with rams' heads at top ending in lion feet at bottom. Scale in pen and ink at bottom.
Designs for Clock Cases and Bronze Figures
André-Charles Boulle, French, 1642 – 1732, ca. 1715
Etching and engraving on laid paper
Print

Designs for four clock cases and two sculptures on bases. The clock case types include three wall clocks (cartel clocks) and a pedestal clock. The clocks and figures are decorated with gilt bronze mounts featuring scrolling leaves, foliate scrolls, acanthus leaves, cartouches, palm leaves, shells, putti, rosettes, roosters, fleurons, wings, flowers, sphynx, a star, fluting, gadrooning, and c-scrolls. The two sculpted figures on pedestals, are a seated nude male with his arm outstretched, and on the right, a seated nude female figure with a winged putto at her feet. The designs are titled, the plate is numbered, and signed by the publisher.
Lake and Foothills near Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, August 29, 1856
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of foothills and a lake, or possibly a wide river, near Mt. Katahdin in Maine. In the immediate foreground at lower center, a loosely-rendered log and boulder rest on the nearby shoreline, while the middle distance is largely comprised of the water's surface and the opposite, heavily wooded bank. In the background at center and right, steep hills or mountains rise and disappear into a bank of low-lying clouds, which is partially broken throughout.
El Khasné from the Siq, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 25-27, 1868
Graphite on brown wove paper
Drawing

Landscape and architecture sketches showing a view of the cliff-carved structure called El Khasné (Al-Khazneh), also known as The Treasury, from a nearby slot canyon known as the Siq. In the foreground at lower center, the stream at the base of the Siq is shown with rocks and bushes as it flows towards El Khasné. At left and right, the sheer rock walls frame the view of the rock-hewn structure, which has a Corinthian colonnade on its ground level, topped by a broken pediment on its second. A detailed sketch of this broken pediment is included at center right, while a loose sketch of part of the facade of El Khasné is visible at lower right.
Les deux chasseurs et la laitière (The two hunters and the milkmaid)
, ca. 1822
Engraved, hand-colored, and painted paper leaf, turned wood handle
Handscreen

Handscreen with a paper leaf and turned wood handle. Obverse: engraved image of two hunters beside a cottage in the woods.  Reverse, bits of dialogue from the play "Les deux chasseurs et la laitiere."
Vase Depicting the Triumph of Neptune and Solatea
Sèvres Porcelain Manufactory, French, established 1756, ca. 1810
hard paste porcelain, vitreous enamel, gold
vase

Vase depicting the triumph of Neptune and Solatea on a square platform bottom. Goblet like shape with a flared lip.
Design for an Altar Cross
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on paper
Print

Altar cross.
The Investigation of the Rainbow, design for plate 66 in the Physica Sacra, vol. 1, by Johann Jakob Scheuchzer
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and wash, pen and brown, black ink on cream laid paper
Drawing

A gentleman with a dog is surrounded by a small circular rainbow and faces a mountain with a cascading waterfall. The picture contains two large diagrams - the upper portion of the picture consists of two circles and diagonal lines, and the lower portion contains two arches and diagonal lines. The letters P and O appear in the upper portion, while Fig. 1 and the letters S and O appear below. The diagonal lines leading to the arches in the bottom portion are emanating from an eye that appears on the ground, just to the right of the man and his dog.
Scrollwork Escutcheon with Representation of Spring
Pieter van der Heyden, Flemish, 1530 - 1572, ca. 1565
Engraving on paper
Print

Spring. Apollo playing the lyre. A woman busy with a flower basket.
Design for a Sacristy Gate of a Chapel of the Torlonia Family
, 1845
Brush and watercolor, graphite on paper
Drawing

Design for a gate of a chapel of the Torlonia family, intended to be executed in metal, probably for the chapel in St. Giovanni in Laterno, Italy. A folding door between a lateral panel on either side. In the latter stand two columns in the shape of candelabra upon marble pedestals, supporting at front a band with two entwined ribbons as it frames the panels of the leaves and connects the bases and cornices of the pedestals, and then the entablature. In the frieze is the inscription: MARINVS-KAROLVS-ET-ALEXANDER-TORLONIA. On top are rinceaux with the rising pelican in gold in the center. In the intervals between the columns are plant caldelabra, with two kneeling putti supporting the coat of arms. A half figure of a winged putto is in the panel, between the pedestals. The leaves are divided into a high upper and a small under panel, the latter with a similar decoration to their neighbors. Above are plant candelabra with three putti each, similar to 1901-39-2442. In the tablet is respectively: ANNO-D and MDCCCXLV.
THETIS
Claude Gillot, French, 1673–1722, 1729–37
Etching and engraving on laid paper
Bound print

Plate of arabesques with the figure of Thetis at the center under a baldachin. The plate is signed and numbered.
Design for a Decorative Swag
Clément Pierre Marillier, French, 1740 – 1808, 1770–75
Pen and gray ink, brush and gray wash on white vellum (parchment)
Drawing

Design for a decorative swag with, attached by a ribbon, an oval medallion with a vignette of a fox in a landscape.
Textile
, 1850–1900
cotton Technique: printed by engraved roller on cotton plain weave.

Three scenes of children playing.  Faded from red tones to yellow tones.
Album of Prints: New Collection of Vases published by Charles Leviez
Charles Leviez, French, 1708–1778, 1756-1773
Album

Album of prints containing seven plates of a NOUVEAU RECUEIL DE VASES published by Charles Leviez. The title page provides the name and address of the publisher, but the plates are not signed or numbered.
Plate
, ca 1760
Tin-glazed earthenware

Circular plate with scalloped edge; pale green floral decoration around perimeter, fauna and figure in center.
Sampler
Margaret Barnholt, American, 1831
cotton and silk embroidery on cotton foundation Technique: embroidered in cross and stem stitches on plain weave foundation Label: cotton embroidered with cotton and silk in cross and stem stitches

A sampler with six scenes: a church with a garden, figures, animals, birds and butterflies in front; the garden of Eden with Adam and Eve; and a mourning scene with a weeping willow, and funerary urn, and four figures, two adults and two children. Three additional scenes show figures with animals and trees. With a rose vine border. 
The verse reads: 

Mother dear weep not for me
When to this yard my grave you see
my time was short and blest was he
that called me to eternity
Textile
, ca. 1715
silk Technique: 5-harness satin damask

Serpentine branches with big decorated flower heads inspired by Indian design. Broad warp twill selvage with narrow green and yellow stripes.
Drawing
, 1675–1700
Red crayon, pen, ink, brush, grey water colors. Paper;

Horizontal rectangle. Four pairs of Corinthian columns support an entablature, above a dado. Decorative vases stand in the lateral intercolumnia. In the central one stands upon a pedestal a statue of ''Love'' with a fire upon her head and with three children and carries in her right arm a framed oval bust portrait of a member of an order. A view in a square court is the background.
Griffons
, ca. 1830
Gilt bronze

Pair of seated griffons with outstretched paws and raised wings.
Sample
, 1892
linen Technique: grid of withdrawn element with needke lace, reticellla style

Square of fringed linen with center portion ornamented with drawn and cutwork with lace stitches. One of six samples mounted on a piece of blue satin ribbon.
College Friends Out for a Walk
Pierre Alexandre Wille, 1748–1821, 1813
Etching in black ink, watercolor on paper
Print

Horizontal rectangle. Three elderly men walking, moving toward the right. The stout figure, center, turns to the man at left, gesturing.
Embossed wool
, early 18th century
wool Technique: stamped (so-called moreen) plain cloth.

Louis XIV. Symmetrical design of big bouquets in lobed framing band decorated with various flowers and diapered areas. Various ground diapers suggesting lace patterns. Stamped and glazed on fine white wool ground.
Fragment
, ca. 1850
cotton Technique: printed on plain weave

Fragment with a greenish-black ground and a design of tiny allover roses and five-petal flowers in rose, white, yellow and brown.
Border
, mid-18th century
linen Technique: needle lace with ground of loop and twist with twist return

Border with floral forms emanating from centered motif in free-flowing arrangement.
Fragment
, 17th century
silk Technique: supplementary warp forming pile (velvet); then stamped

Fragment of blue-green velvet with stamped pattern of 'S' shapes.
Fragment
, 17th century
linen Technique: needle lace

Fragment of raised lace in a pattern of a trefoil bud with a central superimposed rosette and a portion of a leaf with a diamond diaper pattern.
The Nativity, from the Life of the Virgin series
Albrecht Dürer, German, 1471–1528, ca. 1506
Woodcut on laid paper
Print

Vertical rectangle. Within the manager, the Virgin kneels before the Child, facing left. Angels hover above the Child. A figure moves toward the open doorway, left.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A) Vertical rectangle. The suggestions are rather different from each other. In the centre of the retable is a niche. The lateral compartments are narrow, the left one suggests two statues in angular frames, one above the other, the right one suggests one figure. In the centre of the broken pediment is a square field, into which is written with chalk: Quadra. B) a rough sketch. The general disposition seems similar to that of the left side in A, but outside is one more compartment, with two more statues in angular niches, one above the other.