biglam/cooper-hewitt-alt-text huggingface dataset:
The Two Cavaliers
Herman van Swanevelt, ca. 1600 - 1655, Dutch, active Paris and Rome, ca. 1635
Engraving on paper
Print

A mountain landscape with a narrow road on right. On the road are two men on horseback and three men walking. In mid-distance, right and left, and in background, trees. In left foreground, two men seated with their backs turned toward spectator. Inscribed, lower right: "Herman van Swaneuelt in fec. et ex. cum pr. Re."
Elevation of the Facade of the Theater, St. Petersburg
Cesare Recanatini, Italian, 1823–1893, ca. 1860
Brush and gray, blue watercolor, pen and ink on paper
Drawing

Horizontal format architectural drawing depicting a two-storied facade, with pedimented portico of eight Ionic columns, and behind a sloping roof, an additional story above the stage. Framing line in pen and ink. Probably designed as an engraving for a book.
Détail de differentes fabriques éxécutées dans les Jardins de Me. Belanger à Santeny
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings, including seven exterior elevations, two sectional or side views, and three floor plans. The plate is titled, numbered, and signed.
Plate 2 from Livre Ier, Principes du dessin dans le genre du Paysage
Gilles Demarteau, Flemish, 1722 – 1776, after 1770
Crayon manner engraving on white paper
Print

Three sketches in crayon manner of tree branches with leaf formations.
Canoe Rider in the Fog, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, probably September - October 1878
Graphite on white wove paper
drawing

Figure and landscape sketch showing a view of a lone canoe rider on the surface of Lake Millinocket in Maine. Shown from behind at center, the rider paddles away from the viewer as he leaves a subtle and symmetrical wake on the water's surface. Pencil striations around the canoe rider suggest heavy fog.
Design for an Embroidered Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1790–1800
Brush and gouache, incised lines on glazed tracing paper
Drawing

A currant stem rises beside a reed border and a torus. Written in ink, top left: "P 217".
Berceau de l’hotel de Condé
Nicolas Langlois, French, 1640 - 1703, 1658–1703
Etching on laid paper
Print

A garden scene with a large domed trellis pavilion structure in the background, elevated with steps leading up to the central domed room, with benches inside. The domes are topped with cupolas. Trees visible beyond the trellis. In the foreground, planted trees within hedged borders on either side of a large path, with figures walking around. The proof is before lettering with the title and publisher inscribed in ink, within the plate.
Study of a Lion
, ca. 1815
Charcoal on paper
Drawing

Walking lion, viewed from behind. Contour study of face at right.
Plan du Rez-de-Chaussée du Château de Luneville
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan of the ground floor leading out to the gardens of the Castle of Luneville. At lower right is a lettered plan of the rooms; at lower center is a scale bar of "8 Toises de Roy."
Parish Church of Our Lady of Chiquinquira del Cerrito, Chiquinquira, Colombia
Frederic Edwin Church, American, 1826–1900, July 1853
Graphite, brush and white gouache on tan wove paper
Drawing

Architecture sketch of a church in Chiquinquira, Colombia. Prominent three-storied bell tower with pyramidal roof visible at center. Church facade and entry next to bell tower at left and a courtyard surrounded by a slat fence at right. Church, with tiled roof, extends diagonally from left to right toward the horizon. Wispy clouds visible above.
Grotesque Panel
, 1570–1600
black chalk, pen and ink, brown, grey wash on paper
Drawing

Vertical rectangle. Symmetrical scheme with slight deviations in details. A candelabrum is in the middle framed by a gaine with a winged female throax, carrying upon the head a fruit bowl, from which branch spirals spring. In these are rabbits. Bead festoons are fastened to the wings. Their other ends are carried by geese standing upon oxen. Below are lions rampant in whose mouths half figures with butterfly wings and entwined snake legs look. Framing lines above, at left, below.
Console tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

At left: like -2058, with slight variations of the decoration. At right: a left side. Supported by a pillar with a lion's foot upon a base. The front of the frame and the top are an entablature, with the same bird motif in the frieze. From the center of the base rises an acanthus plant. Usual background.
Fragments
, ca. 1725
silk, metallic Technique: woven

Large metallic flowers at each edge with blue floral shapes on brown in center.
Water Wheel near Jaffa, Palestine (Tel Aviv, Israel)
Frederic Edwin Church, American, 1826–1900, March 1868
Graphite on gray wove paper
Drawing

Sketch of a wooden water wheel and its axle built into a stone-and-plaster structure near what was then Jaffa, Palestine (now Tel Aviv, Israel). A rectilinear pool is shown at the base of the structure, beside a garden at right. Bushes and trees backdrop the scene.
Design for the Elevation of an Altar with Alternative Suggestions
Francesco Solimena, Italian, 1657–1747, ca. 1700–40
Pen and ink, brush and blue and grey-blue water colors, graphite on paper.
Drawing

Consisting of two separate pieces of paper; the left side of the central part is missing and has been added when the drawing was mounted. Three steps lead up to the mensa which is flanked by pilasters. Above is the high and richly moulded and decorated ledge, which is laterally projecting. In its center is the scrollwork frame showing three cherubim of the ovoidal tabernacle door. Above the frame, is a pedestal with angels and clouds. Two adult angels stand beside the ledge, leaning upon it. They raise wreaths with their outside hands. The right one also holds a palm branch. A vase stands beside the left one.
Saint Matthew with an Angel and Book
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Saint Matthew is seated at a table, facing the Angel, who points to something in the book. He is to the left of the table, the ANgel behind it at the right. A pen and ink are on the table.
LE CHATEAU DE VINCENNES
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the castle of Vincennes in the background with figures, horseman, and carriages in the foreground leading towards the castle. Trees framing the view in the foreground. The plate is titled with a short description and history of the castle.
Death of Thisbe
, 1600–1625
Graphite, pen and ink on paper
Drawing

Pyramus sits in the lower right corner, under a tree. Thisbe beside a fountain at left, with a dagger to her breast. Town visible in background at left.
Architectural Studies and Accounting
Carlo Marchionni, Italian, 1702–1786, mid- 18th century
Pen and black ink, brush and gray wash on paper
Drawing

Architectural elements consisting of an urn atop a pedestal with a griffin, putti. Lower right, plant like forms atop a pedestal. Accounts.
Figure
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of seated figure.
Lit à la Duchesse
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a bed (side view) with a flat-roofed canopy (baldachin) projecting from the wall at the headboard. The bed curtains are tied back and trimmed with passementeries. There are three feather finials. The bed linen and textiles are decorated with stripes, and flowers. The headboard features acorn finials. The plate is titled, numbered, and signed. A scale below.
Textile
, 12th–13th century
silk Technique: compound weft twill (samite)

Large tangent guilloche roundels with pearl guard borders, joined by small, overlaid pearl roundels, each with central rosette, with elaborate four-lobed rosettes in the interstices.  Each large roundel contains an elephant with decorative trappings and a symmetrical floral form above. In golden yellow, greenish yellow, white, dark brown and crimson, on crimson ground.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache on glazed tracing paper
Drawing

Hanging multi-lobed leaves are shown in opposite  directions and staggered in two rows.
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1735–1745
hard paste porcelain, vitreous enamel, gold
cup and saucer

Cup hemispherical, with slight outcurving at edge; cylindrical foot; no handle. Saucer shallow, curved side, slight outcurving at edge. Outside of cup and saucer decorated with slightly mottled red-violet, in which on cup are two four-lobed reserve panels enclosing seaport scenes. Upper face of saucer decorated with seaport enclosed in framework of gilding and colored scrolls. "Lace" borders in gilding. Inside of cup has small landscape decoration.
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 a cartouche at the bottom of the plate. Both plates contain sculpted elements for fountains to be placed in niches, in the center of squares, or as bas-reliefs, and include motifs such as terms, putti, dolphins, lions, elephants, religious figures, and river gods. Both plates are signed and numbered.
Stage Design, Palace Courtyards and Staircases
Bibiena Family, 1657, early 19th century
Pen and brown ink, brush and watercolor on paper; verso: pen and ink
Drawing

Horizontal rectangle. Court of Gothic palace. View through arch into another court with staircase. Porticoes on the right. Verso: a perspective exercise.
Chinese Garden with Fountain
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, representation of a garden: hedges on either side receding into background, and alternating coves and tall trees. In center, fountain crowned by rayed circle, above which is a whorl with a dragon at the top. White, yellow, green, blue, and pink transparencies.
Textile
, 17th century
silk, metal Technique: plain weave with continuous supplementary weft patterning

Red ribbed silk ground with a large-scale symmetrical palmette surrounded by four serrated leaves connected by a crown. The pattern is formed by one horizontal rib having an extra white silk weft and the alternating rib having a narrow strip of flat silver.
Sidewall
, ca. 1700
Leather, stamped, painted

Bunch of grapes as central motif, large red tulips, and lily-like flower.
Study for Two Cherubim
Francesco Solimena, Italian, 1657–1747, early 18th century
Black chalk on paper
Drawing

At top left, a raised head of a child shown from the right lower jaw. At lower right, a cherub's face and wings obliquely shown.
Modeles et developpements de divers Balustres dont les proportions sont établi selon le caractere de l'ordre tant à l'usage des Acroteres que de Balcons
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for balustrades according to the principles of the five architectural orders; from left to right, the Tuscan, Doric, Ionic, Corinthian, and Composite. The plate is signed and numbered.
Mountains and Valley, Mexico
Frederic Edwin Church, American, 1826–1900, 1892–93
Graphite on light brown wove paper
Drawing

Landscape sketch showing a view of an expansive valley bounded by rugged mountains in Mexico. In the foreground, two trees with blooming canopies are faintly rendered at lower right. The flat, wide floor of the valley extends from the middle distance and into the background, where it is bounded by mountain ranges on all sides. These rugged ranges with their many sharp peaks create a serrated horizon. Large mountain at right heavily shaded.
Tile
, late 18th–early 19th century
Earthenware, glazed nd high fire decorated

Standing man, dressed in long yellow costume and blue under sleeves and belt; leaning on long stick which he holds in his right hand. Chinoiserie type of decoration.
Design for a ceiling
Robert de Cotte, French, 1656–1735, ca. 1730
Pen and black ink, graphite, white heightening on blue paper
Drawing

Two alternative designs are suggested for the cove: including festoons, scrolls, female masks, festoons, and gaines. For the center: including flower vases on brackets with doves and a spike design with vegetable motifs and shells.  The ceiling is divided by bands into the central, circular and four pentagonal coffers. Three alternative suggestions are made for the letters. Two of them show bracket motifs and putti.  One is decorated with an acanthus scroll from which a Bacchus gaine rises; a female head, a three-quarter figure of a child, rustic musical instruments are in the framing. The fourth shows a sphinx under a canopy, a festoon held by a half-figure.
Girandole (Candelabra) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a three-light candelabra (griandoles) decorated with leaves, fluting with fleurons, putti with scrolling leaves (rinceaux) as legs, a female mask (mascaron), rosettes, festoons of fruit, ribbons, and animal feet. The plate is numbered and signed.
Cabinet
Giuseppe Barberi, Italian, 1746–1809, 1800–1825
Pen and brown ink on off-white laid paper
Drawing

Elevation of a cabinet with roughly-sketched inlaid work. Two drop doors are seperated by a drawer with a lozenge band.
Lit à la Françoise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed placed with its length against the wall, and a canopy over the center. The canopy and the bedding are decorated with rosettes. The plate is signed.
Trophy Design
Jean-Charles Delafosse, French, 1734 – 1789, late 18th century
Etching on laid paper
Print

Design for an ornamental hanging trophy. A copy after one of the trophies in the print titled ‘Attributs D'Eglise (Attributes of the Church), published ca. 1771-1775 by Jean-François Daumont, engraved by Pierre François Tardieu, after Jean Charles Delafosse. Trophy depicting objects associated with the church and liturgy, including books, papers, bishop's hat (miter), staff (crozier), crown, ewers, cross, coin, priest stole, and plaque with religious imagery (a lamb with a cross and pyramid). The plate is numbered.
Design for a Bishop’s Sarcophagus
, late 18th century
Graphite, pen and ink, brush and wash on paper
Drawing

Elevation of a stepped sarcophagus with angel caryatids a miniature smoking braziers. At top, a bishop's mitre, and crosier.
Fragment
, late 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet) on satin ground

Fragment of deep purple cut and uncut velvet on white satin ground. Design of branches with blossoms and leaves alternately turning left and right.
Brisé fan
, 1820–30
Sticks of incised and drilled bone decorated with metallic foil and polished steel spangles, silk ribbon, mother-of-pearl washer

Brisé fan with star and leaf pattern. Sticks of incised and drilled bone decorated with metallic foil and polished steel spangles; silk connecting ribbon; mother-of-pearl washer at the rivet.
Grotesque with Dolphins and Winged Lions
Master of the Die, Italian or German, 1530 - 1560, 1532
Engraving on laid paper
Print

Vertical rectangle showing a symmetrical grotesque design composed of putti, dolphins, sea lions, birds and bearded men.
View of Chimborazo near Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 4, 1857
Graphite, brush and white gouache on light brown wove paper
Drawing

Landscape sketch showing a view of Chimborazo and the surrounding mountainous landscape from a hill near Guaranda, Ecuador. In the foreground at lower center, a road curves through the rugged terrain nearby with a figure hiking up it towards the viewer. At right, half of a thatched hut is visible atop a slight rise in the landscape. At left, a group of agave plants are highlighted in white gouache while other bushes and vegetation are visible along the slope at lower center. A hill is shown in the middle distance at center, in front of a range of rugged mountains that form a serrated horizon at center. In the background at left, the rounded peak of Chimborazo is visible above this sharp range.
A Sacrifice
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

The altar at left, with sticks of wood burning on it, a man behind it, tending the fire, a young assistant to either side. A priest stands with a knife in his hand, center, ready to receive t he ram being led in at right.
Design for Secretary Desk
, ca. 1805
Graphite, pen and black ink, brush and watercolor on paper
Drawing

A secretary desk, section and elevation. It is ornamented with two painted panels, one, lozenge-shaped, of a dancing bacchante; the other, a horizontal oval of a landscape with ruins. Upper portion has tambour cabinets either side of a square central bay, pedimented and surmounted by an urn.
Plate, from a Dessert Service
Sèvres Porcelain Manufactory, French, established 1756, 1831
hard paste porcelain, vitreous enamel, gold
plate

Decorated in yellow, green, red and brown, with gilding. Flat bottom: slightly cavetto marly decorated with concentric bands of yellow and gold, edged with serpentine vine with berries. In bottom, gold laurel wreath enclosing a trophy composed of confections; caption below, in Gothic letters: "Les Patisseries".
Plat-fonds de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Ninth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a section of the ceiling from the Gallery of Apollo at the Louvre. The ceiling features a Greek border and ornamented with grotesque and arabesque motifs, with helmets, lions, angels, rosettes, foliage, flowers, acanthus leaves, and a central floral and acanthus leaf rosette. The plate is titled, signed, and numbered.
Button
, 19th century
brass

1931-59-958: Brass button with ornament in design of central si...
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1929
silk Technique: compound plain woven

Minute diaper pattern with flowers in burgundy, black and grey.
Cartouche with attributions of war
Claude-Louis Desrais, French, 1746–1816, 1774
Pen and ink, graphite
Drawing

A winged circular medallion depicts a victorious prince in a charriot welcomed by women. Military attribtions surround the medallion.
Coriolanus and Scipio
Alexandre Buquet, French, 1802–1865, ca. 1825
cotton Technique: roller printed on plain weave
Textile

Two different stories, that of Coriolanus and that of Scipio, printed in red on a background of chickens. There is text in French under each of the scenes.
Band
, late 17th–early 18th century
linen Technique: needle lace

Plat point de Venise and inserted sections.
Tile
, 18th century
Glazed earthenware

Square tile, painted with underglaze random pattern of red-orange and black spots, simulating stone. Clear glaze (kwaart) over tin-glaze and underglaze colors.
"classical medallions"
Jean-Baptiste Huet, French, 1745 – 1811, 1805
cotton Technique: printed by engraved roller on plain weave
Textile

Classical medallions printed in blue on white. Women in classical dress and garlands of grape vine frame medallions containing a sphinx, a winged head flanked by two roosters, a putti riding a bull. Pattern incomplete on left side.
Textile
Bromley Hall, Middlesex, England, 1712–1763, ca. 1775
cotton Technique: copperplate printed on plain weave

Printed textile from Bromley Hall with nearly two repeats of a flowering tree stump with two birds in it with a pair of ducks on the ground. Red on white ground.
Fragment
, 15th century
silk Technique: cut supplementary warp loops in a five-harness satin foundation (velvet)

Fragment of a large scale ogee patterned velvet with three colors. The pattern is created by blue cut pile with details in red and white cut pile. The background consisting of a linear pattern is voided. The pile is cut to one height over the entire surface.
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
moulded "Favrile" glass

Transparent deep blue ombréed with lighter milky blue and traces of lavender, rose and amber. Broad pronounced shoulder; short neck; flaring lip; ten ribs from neck to footless base of tapered body.
Yui, from the series, "The Highest Ranking Geisha's Journey"
Keisei Eisen, Japanese, 1790 – 1848, ca. 1830
Woodblock print in colored ink on paper
Print

The woman sitting against a shoji screen, resting on one arm, sits in contemplation. The framework of the building highlights the same orange color in her kimono. There is a window in the print that shows a natural landscape. Other Japanese characters written in kanji and hiragana are dispersed around the print.
Le Tombeau de Voltaire
Dubern & Cie., ca. 1785
cotton Technique: printed by engraved copper plate on plain weave; mordant for red
Textile

Textile printed in red on white showing vignettes with allegorical scenes: a heralding angel of Fame on a flying Pegasus before an unornamented triumphal arch and obelisk; a figure mourns next to the tomb of Voltaire in a field of obelisks; three graces dance in front of a seated Apollo; Jupiter's eagle holds a radiant bust of Voltaire in its beak; the figure of History writes Voltaire's name on the back of Time who carries an hourglass and scythe; an angel with a flaming torch greets a putti; a scholar converses with a hunchback man; a man cowers from a figure with snakes in their hands and hair, as well as from Cerberus, the three-headed dog of Hades; bats fly around a crop of flaming rock; Charon rows a boat decorated with the face of Medusa to the Elysian Fields, where the aged figure of Voltaire bows to be crowned with a laurel wreath by Henry IV while putti collect his written works; an elaborate fountain casts arcs of water in front of a building; a figure stand on the edge of a cliff in front of a classical building.
Studies of Hands
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Three hands and lower arms shown; one at right is shaded.
Fringe
, 18th–19th century
silk Technique: woven

Pink fringe with a heading in an ornamental design. From heading hangs pink cords decorated with pink collars and pink tassels.
Scrapbook of textile swatches
Morrisania Silk Mill, Bronx, New York, NY, ca. 1900
silk Technique: woven

One hundred samples of silks, dress, ribbons in stripes, plaids and flowered. Mounted on paper leaves of a book; cover: cloth, decorated with raised applied ornaments in style of Chinese jars.
Portrait of the Caligrapher Andreas Gulden
Andreas Kohl, German, 1624 - 1657, 1653
engraving on paper
Print

Vertical rectangle. Within a calligraphic frame is an oval bust portrait of the calligrapher, Andreas Gulden (1606- ? ), wearing a van dyck beard. At the four corners of the frame are putti bearing attributes of writing. Below, a four line Latin dedicatory inscription and the Designer's name. Within the frame is the date.
Textile
, 18th century
silk Technique: plain weave with supplementary weft

Length of thin orange taffeta brocaded with typical Louis XV design of small bouquets in yellow, pale blue, pink, brown, green and white arranged with curving twisted lace ribbons brocaded in white silk floss.
Fragment
, 16th–17th century
linen Technique: needle lace

Partial fragment of a flower has petals and connecting bars.