biglam/cooper-hewitt-alt-text huggingface dataset:
Console Table Design
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Elevation of three-legged hemicycle console table set with a tall vase with a curved handle, a large, covered jar with acanthus leaf ornamentation, a wide covered bowl, and an incense burner on a plate. The legs have a foliate pattern that is capped with a leaf motif. The half-circle tabletop is ornamented with rinceaux patterns, swags and an architectural entablature motif. The plan view of the table is indicated directly under the elevation. Below the plan is a scale bar of three French feet ("Echelle de 3 Pieds"). The plate is signed and numbered.
Sketches at Sea near Newfoundland and Labrador, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on gray-green wove paper
Drawing

Seascape sketch showing views of an iceberg with two tall plateaus at upper left, a curious flower-like formation of ice at upper right, and a view of backlit clouds above the ocean at lower left. Viewed off the coast of Newfoundland and Labrador, Canada.
Escutcheon, from "Recueil Nouveau de Differens Cartouche"
Jacques de Lajoüe, French, 1687–1761, ca. 1732
Etching on paper
Print

Plate 9. A curved tablet is obliquely shown before a rocaille escutcheon, with attributes of Neptune. Framing, etc., similar to -158, with "N. C. Cochin sculp."
Left Half of Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

A colonnade of Ionic order with a straight entablature on which statues stand before the receding central wind and connects the projecting lateral wings. The latter are of three bays and have an arched doorway in the middle of the ground floors. Four floors, a mansard included.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Ornament designs with grotesque motifs, including a section of a broken pediment with a central ewer, featuring rosettes, laurel leaves and ribbon molding, a cartouche on a draped textile, foliate scrolls, scrolling leaves (rinceaux), an eagle, and two putti/ fauns. In the upper right, a cartouche with an oval profile portrait framed by shell, fish scales, palm leaves, festoons of leaves, gadrooning and foliate scrolls. In the center left, a mascaron (mask) in profile of a bearded man with wings and palmette on his head. The plate is signed.
Temple Entrance
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

The bright red fence and the blue stream creates an appealing diagonal line that compliments the red and yellow cloud. This highly geometric temple scene shows a trail of people near the entrance. In the foreground are three people on horseback.
Brooch and box
, ca. 1880
(Brooch) Gold (Box) red leather, blue velvet, white satin

1946-50-37-a,b: (A)Brooch with a bar surmounted by pointed ornamen...;     1946-50-38-a,b: a) Earrings in design of bar surmounted by pointed...
Bough
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a bough with blossoms and leaves.
Design for an Ovoidal Tureen
Pietro Belli, Italian, 1780–1828, early 19th century
Pen and ink, brush and gray, yellow watercolor, graphite on paper
Drawing

Vertical rectangle. Design for an ovoidal tureen. Below are a base and an ovoidal pedestal, which is surrounded by a band with an ornament of palmettes beside rosettes. The bowl is supported by female allegorical figures of the seasons, standing upon balls. Autumn is shown at left holding grapes and a wine jar, Summer is shown at right holding grain. Pairs of festoons wrap around their outermost shoulders. The handles of the tureen are pairs of snakes, rising from Medusa masks at left and right. The cover is flattened on top, where figures of Ariadne and Dionysius stand together. Scale at bottom.
Table Sketches, Florence, Italy
Frederic Edwin Church, American, 1826–1900, September 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Furniture sketches of a table and its details in the Academy of Fine Arts, Florence. A corner of the table and its ornate leg are visible at left, with a detail of the corner. At center, a detail of the table's carved interlaced decoration is shown. Other details are lightly rendered at lower center.

Verso: Sketches showing a piece of green paper covered in white dust, above, and the facade of a building with an octagonal window and a bell, below and oriented to the left. The dusty, green paper appears more as an abstract, incoherent study of light and shade than any physical object.
Design for a Hot Water Spout
, late 18th century
Pen and ink, brush and sepia wash, gray, yellow watercolor, graphite on light brown paper; verso: graphite
Drawing

Vertical rectangle. Design for a hot water spout, attached at a wall, intended to be executed in yellow and white metals. The bowl is supported by a flying angel upon his back, in clouds. Above are clouds and three cherubim. On both sides are graphite lines. Verso: two graphite sketches of decorative blossoms.
Design for Painted Decoration of a Wall
, 1835–50
Brush and gouache, watercolor on paper
Drawing

A dado is shown at the bottom, a frieze with wreaths hanging around a molding and an entablature above. The decoration of the panel is white upon blue. Ribbons, consisting of rows of petals, rise alternatlely in oppostie directions. In the resulting ovoidal compartments alternate circular wreaths with rosettes, between two petals, and palmettes between two petals.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment with a crude floral form suggested by a spoked circle surrounded by triangular petals. Left and right edges have diamond shapes connected by lines of stitching.
Livery band
, early 19th century
silk Technique: supplementary warp pile (velvet)

Trimming for livery, divided in to three horizontal sections: the top section shows a castle in white on red ground; the center section a coat of arms in several colors; and the bottom section a rampant lion in yellow on a blue ground.
Colonnade with Fountains
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, three-bay colonnade in pink, blue, and white. In two side bays, fountains in the form of pedestals with urns from which water shoots out. In center bay, radiant star in pink above three pyramided green and white balls.
Embroidery sample
, ca. 1770
silk Technique: embroidered and appliquéd on cut voided supplementary warp pile (velvet)

Black velvet with green stripe and floral sprays in white, rose and green. Lace at edge.
Sepulchral Chapel seen through a Colonnade
Giuseppe Barberi, Italian, 1746–1809, 18th century
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Horizontal rectangle: view from within an antique building in which sculptural monuments are massed, through an opening between two columns toward large domed building.
Design for an altar of the Virgin
Carlo Marchionni, Italian, 1702–1786, 1775–80
Pen and sepia ink, brush and gray watercolor on laid paper
Drawing

Two angels support a frame of an image, with two cherubim on top. Two others support a label above. Upon the cornices of a broken pediment sit angels. In the center an escutcheon with a monogram; on its top a cross with two angels beside its base.
Fragment
, mid-18th–mid-19th century
cotton Technique: blue resist on plain weave

Fragment shows a central vertical column and scalloped pedestals with a lace-like design, tassels and cords. With two birds and flowers.
NEPTUNE
Claude Gillot, French, 1673–1722, 1729–37
Etching and engraving on laid paper
Bound print

Plate of arabesques with the figure of Neptune at the center under a baldachin. The plate is signed and numbered.
Design for a Niche with a Buffet
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 niche, with a buffet or cabinet set into the wall, an oval mirror above, flanked by wall mounted candelabra supported by female herms. Wall fountains flank the marble cabinet-top, set within the carved paneling. The fountains are made of mascarons, sprouting water or wine into a shallow basin supported by goats' heads. The niche is decorated with carved paneling with fleurons, acanthus leaves, rosettes, mascarons, c-scrolls and flower ornament, fretwork, trophies, and carved molding. The cornice is also carved with similar motifs. A two-tiered marble toped buffet is set into the niche, with a cabinet below, with two plain panels, framed with acanthus and fleuron motifs in the corners, and larger carved decoration on the side panels. A scale of one to six is included below the design. The plate is signed and numbered.
Design for a Mantlepiece and Overmantle
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 mantlepiece and overmantle. The mantlepiece is marble, with a framed overmantle mirror above, framed one either side by carved panels. The side panels are decorated with acanthus leaves, rosettes, C-scrolls and margent ornament. The top of the mirror is semi-circular with a carved overmantle above. In the center of the over-mantle panel features the head of Apollo framed by shells ornamented with gadroons, acanthus leaves, flowers, and C-scrolls. Two vertical floral fretwork panels flank the central motif. Two freestanding small urns on socles above the side panels, flanking the central over-mirror panel. The plate is signed and numbered.
Vase After the Antique
Aubert Henri Joseph A. Parent, French, 1753–1835, 1789-1792
Etching and engraving on paper
Print

Vase with two curving snake handles. The vase has a chain attached two mascarons at either side of the neck. The chain drapes over the shoulder and terminates with a medallion, on which a winged putto breaks a trident with his knee; the medallion has on it the initials C.C.F. The vase is decorated with ivy, acanthus leaf, and sunflower ornamentation, and is elevated on a column with animal skull, mascaron, and garland decorations. To the left of the column is a smaller urn inscribed: DIIS MANIBUS / ET CLAUDIO SUCCESS / VIXIT. To the right of the column is an overturned urb inscribed: D O M / LMPT / [faux Greek script]; and a large round plate with a suckling pig and the words: CAIUS RIBIUS FAUSTUS. The objects are surrounded by small trees and foliage. Although the printed descriptions provide locations for Parent's study of antiquities, the compositional arrangement is imagined.  The plate is signed, dated, and numbered.
Portrait of Louis Antoine, Duc de Noailles (1651-1729)
Henri Simon Thomassin, French, 1687 - 1741, 1710-1720
Engraving on paper
Print

Half-length portrait of the seated archbishop. He is in three-quarter view facing right. The sitter is in three-quarter view facing right. The sitter is a middle-aged man, with long hair, wearing a skullcap, ecclesiastical robe and the Cross of St. Esprit. The portrait is in an oval frame, cut off at sides. Below it a pedestal.
Study of Right Hand on a Book
Daniel Huntington, American, 1816–1906, 1887
Graphite on cream wove paper
Drawing

Study of right hand and arm, from the right, resting on an upright book. Verso: Outline of upper torso and arms of Bacchante with tambourine.
Three Putti
François Boucher, French, 1703–1770, 1758–63
Etching and engraving on laid paper
Print

Three putti sitting in clouds. The one to the right holds a book and looks up towards a standing putto who holds a tambourine, the other putto to the left is playing a flute. The plate is signed and numbered.
Portrait of Niccola Orsini (1442-1510)
, 1590
Engraving on paper
Print

Half-length portrait in three-quarter view to right. The sitter wears a "kepi" and armor. In the four corners of the oval frame are four figures, the upper ones are seated old men; the lower ones, kneeling satyrs. On reverse, life history of Giulio Orsini.
Imaginary Landscape with Castle
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape and architecture sketch showing an imagined view of a landscape with a medieval castle and a cottage, derived from the artist's view of Château de la Bâtiaz in Martigny, Switzerland. In the foreground, a river flows horizontally across the composition, with the nearby grassy bank visible in the lower left corner. Across the river at right, a small cottage with a thatch roof is illuminated in a beam of light beside several trees. Looming above it in the middle distance at upper left is a medieval castle with a tall, circular tower that is perched atop a lofty and abrupt hill. Dark storm clouds gather over the castle along the upper margin.
Fragment
, ca. 1825
cotton Technique: printed on plain weave

Fragment shows a pastoral scene of a girl with a lamb, trees and a castle on a hill. In red on white ground.
Fragment
, 15th century
silk Techniqu: 4&1 satin patterned with plain weave (lampas)

Affronted crowned lions within a staggered arrangement of cartouches in green, yellow and white on red. Selvedge on left.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The handles are in the shape of dolphins with a wave motif around the rim, and a frieze of flowers below. The body of the vase is decorated with an open-mouthed mascaron and figures. Below are shell, c-scroll, wave and gadroon ornament. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Tlingit (Indigenous Alaskan) Helmet
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Indigenous Alaska (Tlingit) helmet brought to Spain by  Alejandro Malaspina in 1791, and held at the Museo de América, Madrid, inventory no. 13911
Ornamental Foliage with a Mask and a Bowl of Fruit (Autre, offrant au milieu d'en bas un mascaron...) Ornamental Foliage with an Old Man and Two Children
Enea Vico, Italian, 1523–1567, ca. 1545
Engraving on white laid paper
Print

Sheet contains two rinceaux designs. Upper design: grape leaf and centralized grotesque motif above mask with leafy hair, beard and scrolling moustache, which supports grape filled vase; lower design: three figures amongst acanthus leaves and partial figure of nude male at center flanked by two putti.
Venus and Cupid
, 19th century
bronze
Figure

Nude Venus holding drapery about her, Cupid with a bow beside her on brass inlaid ebonized plinth base. 11 3/4'' high???
Designs for Ornament and Roundels
Pierre Bourdon, French, ca. 1656 – 1708 after, 1703
Etching and engraving on paper
Print

An ornament print featuring roundels and a band with grotesque motifs (intertwining scrolling leaves, foliage, human, and animal forms), with cartouches, mascarons (masks), birds, diaper patterns, trophies, strapwork, animals, and a vignette with two figures and a sword. The plate is signed and numbered.
Fragment
Petitpierre Freres, 1770–90
cotton Technique: printed by engraved plate on plain weave foundation

End of a length of cloth with a factory stamp and a little of the pattern visible. The pattern shows a woman being carried off by two men and a shaped area of shaded red.
Design for a Mass-Operational House Designed by Hector Guimard, Construction Directions
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard. This design shows construction instructions and scale.
Design for Stained Glass Window, St. Paul's Church, Boston, MA
Sir Edward Burne-Jones, English, 1833–1898, 1870–74
Pen and ink, brush and watercolor on paper
Drawing

Window consisting of two arched panels, with Saint Paul preaching in one and three figures listening in the other. Above, in a rondel, the crucified Christ.
TAO KOU ou Religieuse de Tau à la Chine
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese woman seated in a landscape holding a fan in her left hand, with a tambourine on the ground and bridge in the background. The plate is titled, signed, and numbered.
Chasuble fragments
, early 18th century
silk, metallic yarns Technique: satin damask with discontinuous supplementary weft patterning (brocaded)

Two panels from a chasuble. Curving pattern of flowering branches with rococo and chinoiserie elements. In pale shades of blue, green, yellow, pink, white, and silver metallic on a salmon pink ground.
Sketches of Two Lunettes
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on light brown paper
Drawing

Above, Apollo seated on rocks, with a winged horse beside him. Apollo is holding a lyre. Groups of figures at either side. Below, inscription plate. Verso: sketches.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground printed with narrow blue stripes interspersed with Herringbone stripes in grey (molette printed). Overprinted are sprays of raspberries, cherries, blossoms and leaves in pink, green and white.
Woman washing fabric in a stream
Utagawa Kunisada, Japanese, 1786 – 1864, 1857
Woodblock print in colored ink on paper
Print

This artisan, decorated in various designs, is rinsing a textile in the water. While her garments are mainly designed using shibori and bingata techniques, katazome was implemented to create the abstract checkered print. Behind her is another fabric that contains two tones of indigo blue. A cartoon in the top left shows a clear image of the grand Mount Fuji.
Fringe
, 17th century
silk Technique: plain weave

Green fringe with a heading and looped skirt threads in scallops; every fourth supporting a ball tassel.
Cope, hood and orphrey
, 16th century
silk, metallic thread Technique: embroidery on cut and uncut supplementary warp pile (velvet) with gold brocade

Gold brocaded red pile velvet in a pomegranate design. Orphrey of gold couched with multicolored silks show eight saints. Faces of saints are an applique of silk embroidery. Hood, in the same technique as orphrey, shows the Annunciation.
Chasuble back
, early 18th century
silk, metallic thread Technique: plain weave with supplementary weft

Shaped panel with a large-scale vertical turnover repeat of multicolored flowers, leaves, garlands, and shells that flank symmetrically an oversize bunch of pale strawberries. Multicolored patterning and silver-white ground brocaded on a foundation of sky blue silk gros de tours (ribbed tabby) which shows through as an elaborate lobed outline.
Page Six from "Second Licre Contenant Differens Desseins de Pendules Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Side view of the clocks on pages 2 and 5. The clock on left with an eagle on top, and a dog in profile view on the base. The clock at left has a lion in frontal view. Inscribed, upper left: "B"; upper right: "6"; lower left: "Oppenort inv."; lower right: "Huquier sculp."; center: "Avec privilege du Roi"; below, left: "Profil de la Pendule page 2"; below, right: "Profil de la Pendule page 6".
New York Skyline – Dark Buildings
Childe Hassam, American, 1859–1935, 1918
Lithograph on wove paper
Print

New York buildings appear in silhouette, with skyscrapers in the distance and rooftops in the foreground.
Sampler
, 1774
silk embroidery on linen foundation Technique: embroidered on plain weave

Biblical scenes, castle with stork, animals, flowers, etc.
Textile
, early 19th century
silk Technique: satin lampas

Canary yellow ground showing a design in ivory of diapered scrolls forming ogives and enclosing floriated leaf palmettes.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with Valenciennes round mesh)

Fragment of bobbin lace made with continuous tape.
Candlestick
, early 18th century
silver
candlestick

Molded foot with shaped edge, supporting a slightly curved horizontal tray for snuffer and, at right angles to it, a threaded cylinder and a loop handle with a thumb rest. Engraved with walled tower, key and glove. Center post cut out for snuffer; at junction, pair of arms with bobeches, cylindrical candleholders, and finials.
Fragments
, 15th century
silk Technique: supplementary warp pile in a 4&1 satin foundation (velvet)

Green velvet of the ferronerie type with a voided design of ogival shapes.
Collar
, 19th century
linen, cotton Technique: deflected element work

Collar in a pattern of medallions containing roses set in a scalloped border.
Carving
, ca. 1750
wood, carved, gilded, painted

Deep wood carving, two sections of wood riveted together, one section forming the back. Polychromed and gold-lacquered. A scene in a battle between the Heike and the Genji: three Japanese warriors, one mounted on a horse, one running and one fallen; pine branches spreading above.
Fragment
, 17th century
silk, metallic Technique: 3/1 twill with complementary weft floats.

Green, pink, and silver weave. Vertical scroll. Conventionalized floral motifs between narrow bands of checkered motif.???
Plan du Lit de Justice Tenu par LE ROY le 13. Decembre 1756. Dans la Grande Chambre du Parlement, au Palais, à Paris
François Nicolas Martinet, French, 1731– ca. 1800, 1756
Etching and engraving on laid paper
Bound print

Architectural floor plan of the "lit de justice," a formal session of parliament held at the royal palace under the supervision of the king. Plan contained within a decorative scrolling frame with festoons, the coat of arms of France at top--three fleurs de lys in an escutcheon surmounted by a crown. Below hang two balancing scales. Floor plan at center, the king's place marked in the upper left corner. Letters and numbers printed in the plate correspond to a key at either side explaining where and how each attending group would be positioned during the session. Title of plate framed below in an elaborate cartouche. The plate is signed.
L'Heure du Midi, from a set of the hours of the day
François-Thomas Mondon, French, 1709 – 1755, 1738
Engraving and etching on paper
Print

In a rocaille framing. An unidentified coat of arms bottom center.
Sidewall
American Wall Paper Manufacturers' Association, 1879–1887, 1879–87
Machine-printed

Two aesthetic-style sidewall designs, printed in light and dark olive greens with gold accents.
Sampler
Elizabeth Cooper, 1721
linen, silk Technique: embroidery using French knots and double running stitch

Narrow sampler has bands of white French knots. Bottom section embroidered in red thread has a bird and flowering trees.
Model for a Rood Screen
, 1530-50
Carved, gilt and polychrome (traces) oak, wrought iron

Gothic style  with columns, openwork, and pointed arches.
No. 126
Ludwig Lobmeyr, Austrian, 1829 - 1917, ca. 1870
Mouth-blown crystal, hand-painted gold
Wine pitcher

Mouth-blown crystal wine pitcher with slim shape, hand-painted with gold rims.
Design for Rectangular Writing Table with Six Drawers
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Rectangular top with 3 shallow drawers on either side; bracket-shaped cabinet rear of top consisting of open central section with niche containing inkwell and 6 open compartments on either side, flanked by short drawing; raised on 4 straight tapering feet; books, photograph frames, loose-leaf calendar, etc scattered across table top.
Sidewall
, 1815–25
Block-printed on joined sheets

Blue floral stripe, with band of stylized vining floral motif on either side. Printed in blue and white on tan background covered with pattern of dots and dashes.
Band
, late 15th–mid-17th century
warps of spun cotton; wefts of spun rabbit hair and goose feathers with cotton Technique: slit tapestry

Lattice pattern with a cross in each diamond-shaped field. The lattice and crosses are white outlined with red, on a brown ground.