biglam/cooper-hewitt-alt-text huggingface dataset:
The Charity of Saint Nicholas
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 - 1588
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: pen and brown ink on laid paper.
Drawing

Recto: View of an interior by a hearth. Three girls sit nearby, carrying out household tasks. In the background at left, their father, an impoverished nobleman, sits resting his head on his hand. A winged devil appears over his head. Saint Nicholas, wearing a miter, appears at a window in the background at right, offering three golden balls to the girls.
Fish-Pound, Old Landmarks, Illustrations for Scribner's Monthly (XVIII, No. 5, September 1879, p. 647)
Frederick Stuart Church, American, 1842–1924, September 1879
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Monthly on the history on Sandy Hook. The illustration on the top left shows three birds perched on wooden poles with a net strung between them, presumably the barrier of the fish-pound. The illustration on the bottom right shows a ram with large horns looking to the left with a tree behind it.
Design for ceiling decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for ceiling decoration.
Architecture Propre A Differens Usages (Architecture for Different Uses), plate from Oeuvres de François de Cuvilliés, fils
François de Cuvilliés, fils, 1768–73
Etching and engraving on white laid paper
Print

Print of various usages of architectural ornaments with skulls, putti, short fluted column with urn. Above, male and female gazing at each other with barrels pouring out water.
Design for an Urn
, 1820–1838
Graphite, pen and black ink, brush and wash on paper
Drawing

Elevation of an urn decorated with meandering grape vines.
Architectural Ornament Designs
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 features a chandelier with dragons at the center; cornices, lion-headed fountains, and an ornamental clasp at the bottom with a boar head at the top of a cartouche with arrows in a quiver and a club. The right plate features candelabrum, a lock, a door knocker, and table leg decorations, most of which feature mascarons as a decorative element. Both plates are signed and numbered.
Achilles Drags the Body of Hector
Felice Giani, Italian, 1758–1823, ca. 1790
Pen and brown ink on light blue laid paper
Drawing

Achilles looks from his chariot at the dragged body. At left horrified Trojans look on.
Panel of a Wrought Iron Railing
Pierre Guillebaud, ca. 1625
Engraving on off white laid paper
Print

A panel of a wrought iron railing. Showing three fleurs-de-lis in the support.
Elevation of a Gateway
, ca. 1575
Pen and brown ink on off-white laid paper, lined
Drawing

Gate with a broken pediment supported by brackets. No scroll volutes. 
Inscribed: Villa Paciotta
Border
, 1875–85
Machine-printed paper

Small portion of a paper showing clusters of growing flowers. Printed in reds, browns and greens on neutral green ground. In the Aesthetic style.
Plan and Elevation of Cornaro Chapel, Basilica of San Lorenzo
Giovanni Lorenzo Bernini, 1598 – 1680, ca. 1660
Engraving, brush and blue wash on paper
Print

Plan and llevation of Cornaro Chapel, Basilica of San Lorenzo.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Symmetrical upright rocaille cartouche topped with a palmette, a young triton, and a putti holding a staff. Two dolphins at left and right form the top of fountains, which pour water below. Vegetation and armorial trophies complete the ornamental scheme.
Fragment
, 18th century
silk, paper with applied gold foil Technique: compound weave

a) Olive green at top and white at bottom ground. All over hexagon pattern in gold. There is a large circular motif of yellow and green arcs with purple, red, gold, and blue fern fronds. b) Green background with a faded ombre effect.  Hexagon pattern in gold, part of same circular motif at bottom right corner.
Vases pour l'autel
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Designs for vases for an altar decorated with ornament motifs including scalloping, fluting, garland, rinceaux, and acanthus leaves. The plate is signed and numbered.
Textile
, 18th century
silk, paper with applied gold foil Technique: plain compound weave

1942-86-35-a: Beige and gold background with weft patterning of ...;     1942-86-35-b: Beige and gold plain woven ground with weft float ...
PLAN DE BADENBOURG EXECUTE DANS LE JARDIN DE NYMPHENBOURG. MDCCLXXI
Joseph Effner, German, 1687 – 1745, ca. 1771
Engraving and etching on paper
Print

An architectural plan for a garden building at the Palace of Nymphenburg, Munich, with a headpiece illustrating a garden landscape, with a fountain, sculptures, columns, trees, an ewer, a dog, bow and quiver of arrows, and naked female figures, with a Latin verse lettered below. The plate is titled, signed, dated and numbered.
Fireplace (Chimney Piece and Mantel) Design
François II de Poilly, French, 1666 – 1741, 1712
Etching and engraving on laid paper
Print

A design for a fireplace (chimney piece and mantel). A central lidded vase and six smaller vases, flanked by candelabra are displayed on the mantel. The overmantel mirror is topped with an arch and oval roundel above decorated by shell, scrolling acanthus leaves and ribbons. The paneling above the overmantel mirror is decorated with two different options of diaper patterns.
Hunting Trophy
Christophe Huet, French, 1695 – 1759, 1741
Etching and engraving on laid paper
Print

Second plate from a series of six designs for hunting trophies. A hanging trophy featuring a dead fox and birds with leafy branches, a hunting rap, and sword, hanging from knotted ribbons. The plate is signed and numbered.
Sidewall
, 1870–80
Machine-printed paper

Small portion of a paper showing an all-over fuchsia pattern. Printed in cream and dark neutral green on lighter neutral green ground.
Le grand portail de l’Eglise de la Sorbonne du costé de la rue
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the entrance façade to the chapel of the Sorbonne in Paris. The church is domed with a cupola. The façade is decorated with friezes, niches with sculptures, windows, pilasters, capitals, pediment, festoons, balustrades, and vase and figure finials. A scale below. The plate is titled.
Design for a Lamp
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Graphite, pen and ink, brush and wash on paper
Drawing

Three scrolling legs with ram heads supporting a vase. At base a bowl with a burning flames.
Soldier Resting on a Rifle
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Album page

At top right, vertical view with a soldier resting on his rifle, shown from the back; at left two, indistinct sketches; at bottom right, in opposite direction, a part of a horseman (soldier) shown from the left back.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Above a disk, below three drops, each framed by four volutes and diamonds. In the center a knot in the shape of an escutcheon, with small knots, above and below and at the sides, with in the center a rosette and two stems. Bevelled upper corners.
Mountain Pass, Lebanon
Frederic Edwin Church, American, 1826–1900, April 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view looking toward the Mediterranean Sea from a pass in the mountains of Lebanon. Stacked, square stones are visible in foreground. A mountainside at left descends across the composition to canyon with a stream at right. Mountain ridges extend into the middle distance, sporadically dotted with structures. The Lebanese coastline and Mediterranean Sea are visible in background.

Verso: Mixed landscape sketches showing views of a mountain ridge covered in fields of snow, along upper margin, a rocky cliff face at left, a flat plain at right, and a mountainside seen from a cross a plain, below.
Mural Design
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Charcoal, white chalk, graphite on cardboard
Drawing

Semi-nude female figure standing at center with shield and sword, and additional seated figures near feet. Standing, winged female figures at left and right with arms raised over head, holding banners or tablets.
Two Staircase Balustrade Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for wrought-iron staircase balustrades featuring geometric and scrolling bands, rosettes, and scrolling leaves.
Cuckhold Head from Signal Hill, St. John's, Canada
Frederic Edwin Church, American, 1826–1900, June 22, 1859
Graphite on light brown wove paper
Drawing

Landscape sketch showing a view of the coastal prominence near St. John's, Newfoundland and Labrador, known as Cuckhold Head, as seen from Signal Hill. Dominating the composition at center, the craggy, semi-spherical hill is attached to the mainland via a rugged land bridge at left. Its steep, rocky sides plummet precipitously into the water below. Viewed from an elevated point on the nearby Signal Hill, the prominence is surmounted by the high and flat oceanic horizon, positioned along the upper margin. Waves and other surf are faintly suggested around the base of the cliffs.
Almanac for the Second Half of the Year 1778
Louis-Joseph Mondhare, French, 1734–1799, 1777
Engraving and etching on paper
Print

Scheme as -3. The portraits represent: the Duke of Angoulême (1775-1844), "M. LE D' D'ANGOULÊME"; the prince of Piedmon, "M. LE Pce DE PIÉDMONT"; his wife, "M. LA Psse DE PIÉDMONT"; princess Elizabeth of France (1764-1794), "Mme ELISABETH"; the Duke of Orléans (1725-1785) "M. LE D' D'ORLÉANS"; the Duke of Chartres. "M. le D' DE CHARTRES".
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Title page for a series of designs for moldings carved from stone or wood, illustrated in profile views. The title is lettered in the upper center within a trophy of arms and armor featuring an eagle, lion, book, crown, turban with feathers, flags, quiver of arrows, sword, shield, and clouds. The lower half of the plate features four designs in profile view of carved moldings in wood or stone. The plate is numbered and signed.
Textile
, 1700–1750
cotton Technique: resist printed on plain weave

Fragment printed in two shades of blue on a white ground. Design of large undulating branches with leaves and flowers. White dots used in linear patterns to enhance the design.
Design for a Stage: A Cemetery
Pasquale Canna, Italian, active 18th century, late 18th century
Pen and ink, brush and wash on paper
Drawing

Horizontal rectangle showing a view of a large column form sepulcher monument upon a terrace with four small structures. Visible behind is a truncated pyramid. Small figures of men gesture to the edifice.
Studies of Noses
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of eight noses from different angles, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered and signed.
Gaines pour porter des Bustes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two pedestals to support sculpted busts. The pedestal on the left is decorated with ornament motifs including an engaged fluted column. The pedestal on the right is decorated with a mascaron draped with bound leaves and ribbons. The plate is signed.
Textile
, 1801–25
cotton Technique: printed by engraved roller on plain weave

Fragment of pattern with offset arrangement of oval medallions containing scenes of courtship and marriage purple super-imposed on a floral vine pattern on a purple background.
Caster and cover
, early 19th century
wood, turned, pear

The vase shaped body of the shaker has a curved profile and recessed shoulder. A thin tapered stem is joined to a circular articulated foot. The removable cover is ovoid, tapering to a turned finial. Cover pierced with circular holes. Cover and body threaded to allow screw attachment.
Fragments
, 1750–99
silk Technique: cut loops of supplementary warps in a 3/1 twill foundation plus a continuous supplementary weft (velvet)

Fragments of velvet showing rows of tiny green and black dots of cut pile alternating with offset rows of tiny voided dots accented by floats of a supplementary weft on a rust red cut pile background.
Pocket watch
, 1850–53
Gold, enamel, glass, steel

a) Round gold watch with suspension loop in case which opens on one side to reveal face of watch with engraved Swiss scene and on other side to reveal winding mechanisms and name and location of maker: ROBERT/ GENEVE. Outer case engraved back and front: enameled cartouche on each side, one with flowers, the other solid deep blue, each cartouche with enameled border of flowers and foliage. Engraved inside cover: M.A.G./1853. b) Small gold key and chain with enameled decoration. c) Chamois bag.
Textile
, 1830–1850
cotton Techinque: printed by engraved roller on plain weave

Half-drop repeat of two vertical twisting and curving ribbons with flowers attached in purple on a tan background. Fabric lengths placed side by side would have continued pattern.
Cypriote
Louis Comfort Tiffany, American, 1848–1933, ca. 1916
Blown glass
Vase

Blown "Cypriote" ware vase with curved shoulder. Neck tapered inward toward plain rim. Lustred in overall mottled iridescent pattern, with four oval reserve panels with lustre applied to suggest upright feather motif.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Light green with pink, red, green, yellow, blue and white flowers and ribbons.
African Marigold
Morris & Co., London, England, 1876
cotton Technique: printed on plain weave
Textile

Two pieces of printed cotton with a large-scale design of curving leafy branches, interlacing to form circles enclosing flowers. In blue on an off-white ground.
Tancred
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1809
cotton Technique: printed by engraved plate on plain weave foundation
Fragment

Scenes of medieval figures and warriors on a background of pointed arches. In deep brown/red on white.
Cartoon for Printed Cotton: The Four Elements [Les Quatre Elements]
Hartmann et Fils, Munster, France, 1810–20
Pen and black ink, traces of graphite on cream laid paper, mounted
Drawing

A design is composed of four vignettes separated in pairs vertically in the center of the composition by a strip composed of trophies symbolizing the elements, and at the repeat, a similar unfinished panel along the upper left margin.  The vignettes show: upper left, Juno seated in a chariot drawn over the clouds by peacocks accompanied by amoretti (personifying "Air"); lower left, Vulcan forging armor (personifying "Fire"); upper right, Saturn seated in a landscape holding a cornucopia and beside him a globe, quartered with four animals (personifying "Earth"); lower right, Venus borne over the water on a shell drawn by dolphins, attended by amoretti (personifying "Water").

Scale, in pen and black ink (according to Richard Wunder, by the artist's hand), lower margin.
Design for Stained Glass, Southeast Window Nave, Paisley Abbey, Scotland
Sir Edward Burne-Jones, English, 1833–1898, 1874
Pen and ink, brush and watercolor on paper
Drawing

Window with three panels. At left, figures spinning, and at right, figures weaving (alluding to native industries). In center, above, Christ preaching to the little children; below, Christ curing the paralytic. Panels set against a ground of orange trees.
Family register sampler
Dorcas A. Kelly, American, 1818–1881, 1830
silk embroidery on linen foundation Technique: embroidered in cross, satin and stem stitches on plain weave foundation Label: linen embroidered with silk in cross, satin and stem stitches

An arched framework with an incomplete family register. The top of the arch reads Keep Sacred the Memory Of.  The field within the arch is divided in three registers: the top, titled Ancestors, gives the birth and marriage dates of David Kelly and Amy Comstock; the middle register includes a tree with the names and dates of their children; and the lower register has a verse within a leafy border:

Religion
Beyond the narrow vale of time
Where bright celestial ages roll
To scenes eternal scenes sublime
She points the way and leads the soul

Followed by the inscription. A border of roses in an octagon framework terminating with rose sprays at upper corners gives the effect of a trellis.
Ashtray
Louis Comfort Tiffany, American, 1848–1933, ca. 1900
Favrile glass

Iridescent deep blue. Low curved walls with undulating rim; curved rib on exterior of each of the ten undulations. Broad, low foot.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1795
cotton Technique: madder colors applied by block; other colors applied by brush; plain weave foundation

Small-scale design of overlapping rounded arches, each containing flowers growing from mounds. Each arch is composed of a green vine on a brown ground. Printed in black, purple, blue, green, yellow, and several shades of red and pink on an off-white ground. Overlapping arched forms contain a variety of plants growing from mounds. The framing device is brown with yellow edges and a green vine within.
La Fete de la Federation (The Festival of the Federation)
Jean-Baptiste Huet, French, 1745 – 1811, 1790–1791
cotton Technique: printed by engraved copper plate on plain weave
Textile

Length of printed cotton with scenes printed in red on white. In one scene, Louis XVI is shown taking the oath of loyalty at the Altar of Liberty while Marie Antoinette and the Dauphin pledge allegiance; Lafayette is in the background. In another scene people are dancing on the ruins of the Bastille. The fabric was designed after the fall of the Bastille (July 14, 1789) but before the beheading of Louis XVI (January 21, 1793) and is regarded as an attempt by Oberkampf to remain on good terms with both the Royalists and the Revolutionaries.
Portrait of Aubertus van den Eede, Bishop of Antwerp
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, with lip whiskers and dishevelled hair. Below, his escutcheon and motto, and inscription.
Fragment
, 1750–1800
silk, metallic thread Technique: compound weave with supplementary weft

White horizontally ribbed ground. Traces of vertical stripe in extra warp, but nearly worn away. Brocaded design in pink, tan, green, yellow, blue, and silver metallic thread. Design shows large drooping branch with flower heads and two curving trees, a pond and rustic fence in the background.
The Castle of Carlisle
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

Distant view of a fortified castle, with high walls, and square crenelated towers.
Fragment
, ca. 1740
silk Technique: plain weave with supplementary weft patterning (brocaded)

Off-white ground horizontally ribbed with incomplete repeat of a landscape setting. Left selvedge present.
Hanging
, 1700–1750
cotton Technique: mordant painted and resist-dyed (chintz)

Hanging with part of one border cut out to shape it to coverlet use. Two large curving sprays with various large, carefully shaded flowers and large curving jagged leaves, and smaller, more delicate subsidiary sprays of flowerets, buds, berries-- one spray terminating in a fantastic bulging decorated jar with a leaf base, and one confined to two places by dotted bands-- alternate vertically in the wide border and horizontally and vertically in the rectangular body of the coverlet, filling both areas with an air of finality and grace.  

Wide guard borders set off the main border on inner and outer edges with continuously scalloping festoons, from which branch off at each high point delicate lobed leaves scrolling inward and with a filling of wavy lines suggesting seaweed.  Shades of red and blue, and a soft purple from a combination of the two, with touches of a much-faded yellow; the outlines are red and pale purple. The repeats are varied by changing the grouping of these colors. Unseamed and with tabby selvage on one long side.  Completed lined.  


Design: Irregularly repeating pattern of two floral elements. One consists of bulging vase shapes from which springs a cluster of leaves, and above that, various graceful flowers.  From the base of vase, decorated in red with pale blue leaves, emerges a forked shape, possibly to suggest a root system. The colors in this element are shades of red, blue, and touches of faded yellow.  The second spray of flowers consists of foliage, and two groups of fleshy leaves in reds, separated by circlets of blue (formerly green) with red dots; more delicate flower sprays spring from this group.  
The border, 18 3/4 inches wide, is set between two guard bands of small festoons of flowers and finished with a deep blue edge. The pattern in the border is the same as that in the main design except the direction follows the line of the border.  A space of 72 inches has been cut off one side to the depth of 20 inches-- slightly more than the width of the border, leaving corner pieces, and on the other side the outer guard border has been cut away.
Colors: two reds, pink two blues, small areas of red violet, a few vestiges of pale yellow.  As yellow has practically disappeared there is no green. Much shading, veining, fine patterns reserved in the blue areas.  
The palampore is lined with modern white cotton.
Design for Stained Glass Ornamental Panels
John La Farge, American, 1835–1910, 1890–1900
Graphite and watercolor on paper
Drawing

Against a black ground are set eight square or rectangular panels and one with indented right lower corner. Panels reproduce Byzantine floral motifs.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

A) Grey ground of stripes and foliage over-printed in design of flowering vine.
B) Similar ground to A but printed in clusters of natural size rosebuds. 
C) Same ground effect as A but in blue; pattern over-printed of rose clusters with a birds nest and bird.
Textile Design: Woven Border
, mid- 19th century
Brush and goauche on two sheets of paper
Drawing

South-Asian inspired design for a woven border featuring an arcade at top and a carnation rinceaux at bottom. Central portion features two flower-filled medallions intended for repeat.
Fringe
, 16th century
silk Technique: woven

Blue fringe with a plain-woven heading and thread skirt.
Trophy of Arms
, 1800–1830
Wood engraving on paper
Print

Compound of a helmet, two shields, a sword, fasces, a chain. Printed top center.
Vignettes for a Latin Grammar
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1779
Engraving on paper
Print

Four sheets, showing 34 vignettes for a Latin grammar. Done from one plate (not cut apart). Illustrate I and II: masculine; III: singular; IV: plural.
Drawing
Felice Giani, Italian, 1758–1823, 1815-1820
Pen and brown ink, brown wash over traces of black chalk.

Top, a: Salmacis embraces the kneeling Hermaphrodite. At the left, beside a water jar has shot his arrow. Bottom, b: Acis and Galatea embrace each other, the woman sitting in the lap of the man. Polyphemus, worried, watches the couple; he holds a panpipes in his right hand.
Curtain border fragment
, 3rd–4th century
Warp; S-spun linen. Weft; S-spun wool, S-spun linen

Polychrome image of branches with leaves and fruit.
Cap crown
, 18th century
linen Technique: needle lace with ground of loop & twist with twisted return

Point d'Alençon worked with a design of a framed central urn with branching floral sprays. Individual flower and leaf in ground.
View Across a River
Leon Dabo, American, 1868–1960, October 8, 1902
Black crayon on paper
Drawing

View in evening light across a river, with sailboats at the left. Low hills on opposite shore. Two thin trees, close together, in the immediate foreground