biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for a Mantelpiece
Giuseppe Barberi, Italian, 1746–1809, 1775–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Left row, top: in small scale, an entablature is supported by gaines standing in front of pilasters. Center: bases are laterally below. Three sides of a molded frame stand upon them. A receding molding is supported above by brackets. An oblong with an ovoidal medallion is above in the center in front of both moldings. Festoons hang from the upper corners of the oblong to the brackets. The shelf is formed by an entablature. Below: the upper left corner is shown. The opening is framed by moldings. A gaine supports outside an oblong with molded frame, being the front side of a shelf. Right row, above: the left side is shown. A gaine in front of a pilaster carries an oblong with projecting central part. Above is an entablature. Below at left: similar to the design, left row, below with a different capital and with an entablature added. Below at right, a similar design with a different capital and with more moldings, part of which is decorated. Colored background.
Design for an Andiron
Jean Cotelle, French, 1607–1676, 1622-1676
Etching on laid paper
Print

Design for andiron featuring a sphynx and putti seated on scrolls at the bottom, and an urn adorned with masks and garland in the upper part. Around the andiron are designs for another andiron, a stand with shell-like bowls, a handle for fire tongs, and an urn.
Wooded Island, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a wooded island on Lake Millinocket in Maine, viewed from the lakeshore. In the middle distance at center, the island and the contour of its abundant vegetation is shown. In the background, the opposite shoreline--also heavily wooded--stretches horizontally across the composition. In the background at right, a triangular mountain peak--likely Mt. Katahdin--is visible below a line of puffy clouds.

Verso: Landscape and botanical sketch showing a close view of five plants with narrow stems, situated amongst other vegetation, on Lake Millinocket, Maine. In the background, light pencil scratches suggest a distant, pyramidal
Nightfall near Olana
Frederic Edwin Church, American, 1826–1900, August 1872
Brush and oil on tan paperboard
Drawing

Landscape and atmosphere sketch showing a view of a vividly-illuminated pink cloud after sunset near the artist's New York estate, known as Olana. In the lower right corner, the tops of several nearby trees are visible, highlighted in a deep, saturated green. Beside them, heavily wooded hilltops are also shown along the lower margin. Dominating the composition at center, a puffy cumulus cloud catches the fiery pink light of the setting sun on its left edge, which grows fainter and darker as it extends across the cloud. At left, the sky is rendered in a deep shade of brownish purple, while at right, it is a deep, saturated, and dark greenish blue. The same paint tone is used to outline the right contour of the central cloud, figuring the cloud as a canvas that reflects the light around it. The paint is loosely and masterfully handled for a convincing illusionistic effect of light and color.
One of a set of projects for a title page and for the decoration of a vertical panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

Intended to be engraved
The Civil Law, after Perino del Vaga
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and dark brown wash on off white laid paper
Drawing

At left, a man in antique Roman dress stands on a platform. Before him kneels a nude figure. Around them a large group of men in Roman outfit.
Dish (One of Four)
Sèvres Porcelain Manufactory, French, established 1756, 1768
soft paste porcelain, vitreous enamel, gold
dish

Round with four quadrant protrusions in sides. Decorated with floral sprays. Slim blue band on inside edge. Top edge gilded.
Design for a Candelabra on a Pedestal
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Design for an ornate candelabra on a pedestal flanked by two winged putti (children) with festoons of flowers and leaves. The candelabra is decorated with putti mascarons (masks), c-scrolls, scrolling leaves, flowers, and dolphins.
Towel end
, 19th century
cotton, silk Technique: embroidery and drawnwork on plain weave

Piece of white cotton with five vertical embroidered stripes separated by lines of drawnwork. The stripes are alternately of red flowers, blue leaves, yellow buds and blue flowers, red leaves and orange buds. Ornamental hem of red cross stitch.
Sea View from Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 14-24, 1869
Oil paint and graphite on paperboard
drawing

Landscape sketch showing a view of the Aegean Sea and Greek coast from an elevated point in Athens, Greece. A small, white structure occupies the lush, green foreground at left. This terrain slopes slightly to the right and leads to a view of the sea in the middle distance. In the background, the mountainous Greek coast is visible beneath a sunset sky. Two hasty pencil sketches of a curved row of columns standing upon a platform and supporting an entablature are visible along the lower margin.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on white laid paper
Bound print

Cartouche framed with lions, flags, grapevines, classical figure, shield, architectural plan, medal of honor.
The Roman Campagna from Isola Farnese, Italy
Frederic Edwin Church, American, 1826–1900, May 1869
Graphite, brush and white gouache on light green wove paper
drawing

Landscape and architecture sketch showing a view of the Roman Campagna from the village of Isola Farnese north of Rome, Italy. Two nearby buildings are visible atop a prominence at far right, which descends to a group of bushes at lower center. Picturesque rolling and partially wooded terrain extends from the middle distance into the background, where a grove of olive trees is visible atop a hill at center.
Title Page
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Title page and ornament panel design adorned with scrolls, rosettes, festoons of leaves, herms, winged putti, s-scrolls, scrolling leaves (rinceaux), and flowers. The title is lettered in the center. The plate is numbered.
Plate 6, from Die Folge der phantastischen Schmucksträße (Suite of Fantastic Ornamental Bouquets)
Wendel Dietterlin the Younger, German, active 1610–1614, 1614
Etching on laid paper
Print

Rising from the left bottom corner grotesque animals are shown; spiral vegetal motif; fish-like creature.
Bedcover
, 1780–90
cotton Technique: block printed on plain weave

Chintz bedcover composed of a large central panel and two end pieces that have been stitched on. Floral pattern printed in red, blue and deep purple on a white ground.
Cuvette, Brosse à peigne
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a bowl and a brush decorated with ornament motifs including spiraling, ribbon twist, leaf garland, gadrooning, and scalloping. The plate is signed and numbered.
La Galerie des Cerfs et le Parterre de l’Orangerie à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. View of the gardens of Chantilly. The upper plate illustrates the Orangery in the background with its parterre planting and fountain basins with jets of water in the foreground. The lower plate illustrates the formal garden with parterre planting and circular basin with fountain in the foreground, a section of the chateau to the left, and the Orangery beyond the pond in the background. Figures throughout the grounds. The plates are titled.
Portrait of J. B. Sommariva (1760-1826)
Giovita Garavaglia, Italian, 1790 - 1835, ca. 1820
Engraving on paper
Print

Half-length portrait in side view towards left. The sitter is bareheaded and wears a coat with a fur collar. Background shaded.
Fragments
, 18th century
silk Technique: plain weave patterned buy supplementary warp floats and supplementary weft floats

serpentine bands with blossoms on peacock green ground.
Quarré
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a lidded box decorated with ornament motifs including bead and bar course, ribbon twist, laurel wreath, scalloping, and rinceaux. The plate is signed and numbered.
Rain over the Liguanea Plain, near Kingston, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of the Liguanea Plain near Kingston, Jamaica (now a suburb of the city). In the foreground, a green, wooded hillside descends from right to left. In the middle distance, a flat, fertile plain extends to the horizon, where it meets other mountains and falling rain. Above, storm clouds travel from left to right, drenching the distant landscape.
Design for a Cartel Clock Case
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a cartel or wall clock case decorated with allegorical figures and mascaron, including the personification of time holding a scythe, with herms, fleurons, shells, acanthus leaves, C-scrolls, flowers, rosettes, an incense burner and margent and gadroon ornament and motifs. The plate is signed and numbered.
From "Your Mission." (Putnam.), Illustration for Publisher's Weekly (XX, No. 21-22, November 1881, p. 673)
Frederick Stuart Church, American, 1842–1924, 1881
Etching on paper
Ephemera

Center, figure with head turned down, holding a bushel of hay. Vegetation throughout background.
St. Gilgen by the Wolfgangsee, Austria
Frederic Edwin Church, American, 1826–1900, August 8, 1868
Graphite on gray-green wove paper
Drawing

Loose landscape sketch showing an elevated view of the Austrian town of St. Gilgen on the western shore of the Wolfgangsee and the craggy, towering alps that surround it. In the foreground at right, the waters of the Wolfgangsee are shown. At left, a sheer mountainside is visible, leading to a wooded slope and curving shoreline below, in the middle distance at center. The town of St. Gilgen is situated along the lake's shore at right with the steeple of the Parish Church of Saint Egidius prominently visible. Beyond the town, the broad expanse of alpine valley is shown with another lake in the distance. In the background, a craggy mountain range forms a forms a serrated horizon.
Design for Three Brooches
, 1825–50
Pen and ink, brush and sepia on paper
Drawing

Above at left, an escutcheon with a d drapery festoon and a diamond in the center. At right, an octagonal diamond framed by volutes with pearls. In the center, a fleur-de-lys with a hanging drop.
Table
, mid-19th century
Silver filigree
Miniature

Rectangular hinged top, opens when knob at front is pressed. Console legs joined by an oblong stretcher with incurved edges. Small ball feet.
Trimming
, 18th century
silk

Trimming fragment in an alternating red and yellow leaf pattern that passes over and under a blue bar on a cream-colored ground.
Decorative Design
Felice Giani, Italian, 1758–1823, 
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Decorative design with wall partition showing three niches and three statues. Freeze with bachae.
Sidewall
, ca. 1890
Ink, varnished

Irregular. Simulation of wood graining, dark in tone.
Knife case
, 17th century
silk, metallic yarns Technique: embroidered on supplementary warp pile (velvet) Label: silk velvet embroidered with metallic yarns

Knife case in red velvet embroidered with gold metallic yarns in a stylized floral form. Gold braid on the sides and top, with a drawstring at the top terminating in beaded tassels, with a single gold tassel at the bottom.
Design for Sculptured Decorations of Ceiling
Unknown, 1650–75
Brush and brown wash, pen and ink, graphite on paper
Drawing

1938-88-2509: Ceiling decoration featuring several putti and smi...;     1938-88-2510: Project for the sculptured decorations of three ca...
Covered Porringer
Claude Laubreaux, ca. 1750
Pewter
porringer

Ecuelle (a): shallow bowl with reinforced rim and horizontal handles with scroll relief and slit. Lid (b): domed cover, upper part with conventionalized symmetrical relief decoration; edge reeded; flattened ring handle. Engraved shield with three cross on bend.
Design for an Andiron
Jean Cotelle, French, 1607–1676, 1622-1676
Etching on laid paper
Print

Design for andiron, the base of which is flanked by two griffins whose bodies terminate in foliate scrolls and masks. Around the andiron are designs for another andiron, a design for a container, a handle for fire tongs, and a design for a container with a lid.
Clouds at Sunset
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil on paperboard
Drawing

Landscape and atmosphere sketch showing a view of a tumultuous sky over a dark, wooded landscape. Sky defined by a mix of darkened clouds and those illuminated by the golden-pink light of the setting sun. Below, a hilly, wooded topography descends from right to left and extends to the horizon.
Textile
, early 18th century
silk Technique: plain compound satin

Pattern of peacocks and foliage in rose, yellow, and white on blue, very loosely woven, ground in satin weave.
Title page, plate 1 from "Nouvelle Suitte de Cahiers chinois"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching a la poupée and colored inks on paper
Print

A title page: two branches extend vertically at right and left, between which is strung a sheet which reads: 'Nouvelle Suitte de Cahiers chinois a l'usage des déssinateurs et des Peintres. Inventés ed déssinés Par Jean Pillement. Gravés par Anné allen." Below, a staircase and imaginative botanicals rendered in various colors, which bleed into one another within the etched lines.
Design for a Wall Panel
Pierre Ranson, French, 1736–1786, ca. 1770
Pen and ink, brush and sepia, watercolor on paper
Drawing

Elevation of a wall panel divided into compartments with candelabrum. The upper wall shows a motif centered on a basket of flowers; the dado shows a bow and quiver. The entablature shows a frieze of wreaths.
LE FAUCON
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 5 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting, a figure of a male monkey dressed as a gentleman hunter, wearing a waistcoat with buttons, tunic, and pants. He holds a falcon wearing blinders (a hood concealing the bird's eyes) in his left hand and turns to face the left. In his right hand, he holds the leash of a hunting dog--the hound has its eyes near the ground at left.
The large "Ecce Homo"
Vespasiano Strada, Italian, 1582 - 1622, ca. 1610
Engraving on paper.
Print

Horizontal print of Christ, seen frontally, crowned with thorns and being mocked; eight other figures; all shown half-length.
Medallion
, 19th century
silk and metallic embroidery on silk foundation, paper backing Technique: embroidered in satin, knotted and couching stitches

Roundel with an elderly man in a garden surrounded by flowering trees. In polychrome silks outlined in gold metallic embroidery.
Mausoleum
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash, graphite on paper
Drawing

A pyramid with a Doric portico standings upon a high platform. It is flanked, at left, by an ovoidal colonnade, at right by a wall with a doorway. Above, at right: two plans, a section, an elevation of a pyramid. Verso: the right side of an elevation, a variation of -1159. Below, a section similar to -1127.
Bracket and Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

The plate is divided in two to show various bracket and rosette designs. At top is a bracket shown horizontally and vertically with fluting filled with channels of leaf detail. To the right of the sheet is a profile of the bracket, showing lamb tongue ornamentation at its back edge. To the left of the bracket elevation is a rosette, placed in a square frame with lamb tongue detailing. At the bottom of the plate is an elevation of two brackets, one with a naturalistic lacet leaf, and one with an acanthus leaf. The scrolling profile of the bracket is visible at the right of the plate; a rosette placed in a square, egg and dart frame is printed between the two bracket elevations. The plate is signed and numbered.
Cup and Saucer Commemorating the Battle of Waterloo
Royal Porcelain Manufactory, Berlin, German, established 1763, early 19th century
hard paste porcelain, vitreous enamel, gold
cup and saucer

Battle of Waterloo commemorative cup with concave sides, with greatest diameter at lip. Flat strap handle. Flat saucer, horizontal ogee marly. Cup has bust portraits of Arthur Wellesley, 1st Duke of Wellington and Gebhard Leberecht von Blücher, encircled by gold palm and laurel branches. Saucer has gold inscription: Sieger / bei La belle Alliance / 1815 (Winners, the Beautiful Alliance).
The Elevation of a Reliquary Shrine
, 1750-1775
Black chalk, brush, grey water color, and black on cream paper.
Drawing

Object is a horizontal rectangle. Two supporting knobs are shown. The front is hexagonal. Pairs of cherubim are shown at the uppermost and left sides of the framing, respectively. A cherub is at the right side. An escutcheon is in the middle of the lower part. On top is a base and two palm branches, a crown and chi rho.
Samples
Herman A. Elsberg, American, 1869–1938, 1919
silk warp, cotton weft Technique: cut and voided supplementary warp pile (velvet) in a satin foundation

Portfolio with woven fabric samples in a design of slender serpentine stems with large stylized roses in black velvet outlined with short floats of secondary silk weft. Sprays of minute flower in the same technique form serpentine lines that connect to flower heads.
Studies of Irises
Sophia L. Crownfield, American, 1862–1929, early 20th century
Graphite, pen and black ink on trace
Drawing

Studies of various parts of irises, including stems and blossoms, from different angles filling most of the sheet.
Embroidered picture
, ca. 1800
silk, wool, linen Technique: embroidery on plain weave

Birth of the crown prince.  Mother in canopied bed under the crest with the motto "Ich Diem."
Fragment
, 17th century
silk, metallic Technique: woven

Diagonal green leaves on yellow background.
Selvage on both sides.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Elongated ovoid body of thick transparent yellow with milky cast; short wide flaring neck; narrow cushion between body and clear foot.
LE BERGER CONTENT
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a couple in a landscape; the woman sits and listens to a man playing a flute, while a dog looks on. This scene is set within a frame comprised of flowers, scrolls, and garlands. The plate is signed.
Handkerchief
Souleiado, Tarascon, France, founded 1806, late 19th century
cotton Technique: block printed on plain weave

Handkerchief with a central yellow square and yellow border has a design of large paisleys in the off-white field. Paisleys are surrounded by small geometric pattern of squares, crosses, dots and dashes. Central yellow square has small red squares outlined in black and a border of a trailing flower and vine pattern.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. orange/red ground (warp) with motifs in green and yellow (weft)
b. gold color ground with motifs in green and white
c. gold color ground with motifs in green and pink
d. red ground with pink and darker red motifs
e. gold color ground with gold color motifs
Fragment
, ca. 1850
cotton Technique: printed on plain weave

Fragment with a black ground and tiny allover rose sprigs and foliage printed in purple, yellow and green.
Textile
, 1760–1769
silk and metal-wrapped silk-core threads Technique: plain weave with supplementary warp patterning and discontinuous supplementary weft (brocaded) Label: silk plain weave with supplementary warp patterning and silk and metal thread discontinuous supplementary weft (brocade)

Pink ribbed silk with two bold serpentine bands filling the horizontal repeat. The bands have a small-scale floral fill and are edged with an ermine pattern. The bands are intertwined with a flowering branch with small blue and silver rosebuds. Brocaded in black, blue, green, pale pink, and white silks, rose and olive-green chenille yarns, and gold and silver metal threads.
Fragment
, 17th century
linen, silk, wool Technique;

Blossom and leaves in green and tan.
Fragments
, 19th century
linen Technique: Brussels-style bobbin lace

Typical design of flowers, leaves and scrolls.
Standing Woman in a White Dress
Marie-Françoise-Constance Mayer, French, 1775 – 1821, 1775–1821
Black and white chalk on gray-green paper
drawing

Standing woman in a white satin, or silk dress is seen from behind. She looks to the right and leans her elbows on cushion. The emphasis is on the depiction of the material from which the dress is made.
River Valley
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on white paper
Drawing

Sketchbook drawing of a view of a town on banks of small river. Boats and figures, steep mountains beyond.
Sketch of Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman looking to the right, wearing drapery over her head.
America
, 1740–1770
Etching on paper, mounted
Print

Horizontal rectangle. A woman, with feathered headdress and belt, holds a bow and half reclines at center as she looks at a ship, at left, to which a man points. A man with a bird, chained, at right, and an alligator. Ornamental border of rocaille and plants.
Escutcheon
, ca. 1785
Bronze

Keyhole set in oval field crowned by bow of ribbon and descending laurel swags.
Sculptured Frieze with Amphora between Two Half Figures of Boys Pouring Water from Pitcher into Bowl
Felice Giani, Italian, 1758–1823, late 18th century
Black chalk on cream laid paper
Drawing

Horizontal rectangle. The amphora springs from a calyx. The half-figures end in two rinceaux. With their winged backs toward the amphora. Below a framing band.
Fragment
, 17th century
linen Technique: needle lace

Fragment with a curving leaf motif in a diamond diaper pattern and picot edge.
Fragment
, 17th century
linen Technique: bobbin lace

Fine, wavy, ribbon-like scrolling design with scalloped border.
Border
, 18th century
linen Technique: deflected element work

Border with a pattern of floral sprays and sprigs. Small fields of various lace and embroidery stitches.
Subir y Bajar (Up and Down)
Francisco de Goya y Lucientes, Spanish, 1746 - 1828, 1803
Etching and aquatint on paper
Print

Vertical rectangle. The figure of a faun, seated on the ground, holds aloft a small man, grasping him by the ankles. Two other acrobatic figures.
Panel
, ca. 1780
oak
panel

Framing panel carved with floral pendant intertwined with double ribbons, crossing over eachother and forming twelve elliptical openings in which clusters of flowers are enframed.
Beaker with Two Handles and Saucer
Du Paquier Porcelain Manufactory, Austrian, active 1719 – 1864, possibly 19th century
hard paste porcelain, vitreous enamel, gold
beaker and saucer

Tall bell-shaped cup (a) with two scrolled handles.  Plain saucer (b), without ring or marli.  Both decorated with chinoiserie grotesques in schwarzlot (gray monochrome) heightened with gold.
Fringe
, 17th century
silk Technique: woven

Fringe in pink and white with a plain-woven heading. Pink and white skirt threads are arranged in stripes.
Drawing
Felice Giani, Italian, 1758–1823, About 1810.
Pencil. Pen, ink. Brush, brown water-colors. Paper.

Horizontal Rectangle. Phaeton is shown falling from the Sun chariot, which is directed toward left, as is a lion. At right of Jupiter are shown four gods, afraid.