biglam/cooper-hewitt-alt-text huggingface dataset:
Embroidered picture
, mid-17th century
silk, silk-wrapped metal, pearls, glass beads Technique: embroidered in satin, stem, couching, and looping (needle-made lace) stitches with appliqué on 7/1 satin foundation

Left portion of what was originally a larger picture. Female figures representing Justice and Prudence in each corner.  At right middle a male figure of a prophet.  Animals and flowers in field.
Band
, 17th century
silk on linen Technique: embroidered

Border of red silk on linen showing a branch with leaves and flowers.
Border
, mid-17th century
Technique: needle lace

Needle lace; mid-17th century Point Plat de Venise
Long sarong (kain panjang)
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave; painted with metallic pigments (prada)

Large sarong (kain panjang), batik in dark blue, showing diamond-shaped all-over pattern. Small border band on either side showing a grid-work pattern interrupted by squares. Piece painted with gold (prada technique) in lower regions leaving top free for handling and folding.
Card case
, early 19th century
bark, straw, wool Technique: embroidered

Slim box with sliding lid covered in black wool which is embroidered in colored straw in a floral design.
Dessert Dish
John Ridgway, English, ca. 1785 – 1860, ca. 1835
porcelain (probably soft paste), vitreous enamel, gold
dish

Shallow, pale blue dish, roughly rectangular with wavy, pierced edges and twisted, c-shaped handle in center; each dish resting on six feet.  A different, detailed marine painting surrounded by heavy gilding on each dish.
Plan of a Bastion
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and gray ink, red ink on off-white laid paper
Drawing

Below, hexagonal plan for hospital or bastion. Above, similar but less finished sketch.
Two Frame Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two frame designs, arranged horizontally on the page. The frame at left is rectangular, and features bead course at the sight edge, fluted cove, and lamb's tongue and dart molding in the center, and fluted cove at the back edge. On the left and right side, garlands of flowers hang from outset corners in the frame, about 1/3 of the way from the top. The top of the frame has sculptural carving of a lidded vase atop scrolling acanthus leaves and festoons of roses; the bottom of the frame has a festoon of roses within an inset in the middle. The frame on the right is oval, with ribbon twist ornament at the sight edge, fluted cove in the middle, and lamb's tongue and dart at the back edge. The top of the frame has a carved wreath of roses and branches of leaves. The plate is not lettered.
Man in a Canoe with Harpoon
Winslow Homer, American, 1836–1910, 1897
Crayon on paper
Drawing

Sketch of a male figure, in a canoe, who is about to plunge a harpoon into the water.
Fragment
, 15th century
silk, metallic Technique: woven with additions of applique and embroidery

Scene representing the Annunciation with Mary and the angel woven into cloth. Lily in a pot has been added with embroidery and applique.
Sketch, Figure in Uniform with Book
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, graphite on paper
Drawing

Sketch of a figure in uniform with epaulets and book. He turns outward toward the viewer and rests his right hand on the tome, and appears in front of cloudscape. Sketch surrounded by graphite annotations.
Composition of Roman Ruins
Jean-Jacques-François Le Barbier, French, 1738 – 1826, 1776–1788
Color aquatint on laid paper
Print

Two women at the fountain of Forum at right. Behind it ruins of a temple. At right, ab obelisk, in mid-distance, views of another t emple.
Elevation d'un pavillon de 9 toises de face du côté de la cour
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation of a two-story pavilion with fountains and freestanding statues on pedestals. The pavilion is stated to be 9 toises; 1 toise is the equivalent of about 3.799 square meters. The plate is signed.
Reliquary in White Marble and Gilded Bronze
Luigi Righetti, Italian, 1780 - 1819, ca. 1825
Pen and black ink, brush and watercolor, graphite, ruled border in pen and brown ink on light blue laid paper, laid down on white paper
Drawing

Vertical rectangle. Upon a base two angels are kneeling and, together with clouds in the center, are supporting a pavilion, in the center of which is standing a base with an urn with the receptacle for a skull; above the roof Christ rising, with cherubim and angels.
Mausolée
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Mausoleum under a baldachin for the funeral ceremony of Marie Anne Christine Victoire de Bavière (1660-1690), the wide of the Dauphin, held in Notre Dame in Paris. At lower left are two figures talking and gesturing toward the mausoleum. The plate is signed.
Figure
, 18th century
Glazed earthenware

Lion with ball on low base.
Christ Before Pilate: The Large Plate
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1636
Etching on laid paper
Print

Christ stands in the background, near right, flanked by soldiers. Pilate is in the foreground, wearing elaborate robes and an oriental turban. Five men press closely toward him, speaking and gesturing. Crowds below and in distance, left.
Design for a Double Door and Overdoor
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

With the right door folding. It has above and below a high rectangular panel, the upper one with the representation of the figure of a standing woman, the lower one with a hermae, both in the center of scrolls. A small oval representation, framed above by festoons, is in the interval. The overdoor consists of an oblong, divided into a central lozenge, with the figure of a standing woman and four pentagons. The lateral frame consists, at right, of a pilaster with a stem of leaves springing from a vase, and a capital with an oval medallion, at left of a fluted gaine in front of a band. On top the cornices of an entablature. The wall is colored.
Border
, 19th century
linen Technique: Brussels-style bobbin lace

Large-scale flowers and leaves connected with brides.
Botanical and Figure Study
Frederic Edwin Church, American, 1826–1900, 1865-1870
Oil paint and graphite on paperboard
Drawing

Botanical and figure study showing views of a thistle plant beside a small, red flower, at center, and a loosely rendered figure wearing red headwear at upper right. Plants are backdropped by hastily-applied green and brown paint. The creamy grounding color is shown without varnish top, right, and bottom.
Arabesque Ornament Design
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1788–89
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring neo-classical grotesque motifs, scrolling acanthus leaves, festoons of flowers, rosettes, goats, tassels, with a vignette upper center, featuring a tree in a vase with two butterflies and seated women with birds on a string flying above, framed by a row of trees on either side. The plate is numbered and signed.
Ornamental Vase Design
François Boucher, French, 1703–1770, 1738–72
Etching on cream laid paper
Bound print

Vase with a lid in the form of a krater. On the body, an elongated putto stretching, with flowers and leaves surrounding the figure. On the lid, two playing putti. A snake form is coiled around the base. The vase is elevated on a low, stepped socle. The plate is signed and numbered.
Dogs
Robert Frederick Blum, American, 1857–1903, 1882–1883
Graphite on wove paper
Drawing

Recto: Sketch of dogs sleeping; Verso: Sketch of a female figure.
Porte, dans le grand Appartement des Tuilleries.
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Twenty-first 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 double door from the Grand Apartment of the Tuileries Palace. The doors each have five ornamental panels and are framed with running patterned borders. The panels feature heraldic devices, interlaced L's, fleurs-de-lys, crowns, Apollo's head, acanthus leaves, foliage, fleurons, rosettes, trophies with arms and armor, and musical instruments. The locks are highly decorative with similar ornament. The plate is titled, signed, and numbered.
Elevation d'une porte à placard à deux vanteaux
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a double door closet decorated with ornament motifs including bands of lamb tongue, egg and dart, bound leaf, and acanthus leaves. The plate is signed.
Design for the Embroidery of a Lady's Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A garland is beside the yellow edge. A bunch of flowers is in the field.
Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on paperboard
Drawing

Seascape sketch of icebergs floating in dark, cloud-covered seas off the coast of Newfoundland and Labrador, Canada. Situated at center, the largest iceberg has two sharp peaks at left and right, while a smaller iceberg--possibly a portion of the larger one--peeks out from the water at right. Dark ocean waters extend from the foreground to the background, where they meet the cloudy sky on the distant, flat horizon.
Galerie métallique des grands hommes français (Great Men of France)
François Augustin Caunnois, French, 1787 - 1859, 1817
Cast bronze
Medal

Bust of François-Marie Arouet Voltaire (1694-1778).
Mourning Over the Dead Christ
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Charcoal, pen and ink, brush and dark brown wash on paper
Drawing

The upper part of Christ's body leans against the seated and evidently fainting Virgin who is supported by St. John. The kneeling St. Mary Magdalene leans downward to kiss the feet. Three more figures are at left. The tomb is in the left rear. Further in the rear rises a pilaster with a crowned head. A man washes a donkey, in the central distance. Golgatha is shown is the right distance. Framing line.
Fantasy Landscape with Watermill
Domenico Campagnola, Italian, 1500 - 1564, 1530–1580
Black chalk, pen and ink on paper
Drawing

A fantastical view of mountainous country with three streams. A mountain with castle at center. A water mill to the right foreground.
Metalwork Design
Babin, French, ca. 1750, ca. 1780
Etching on paper
Print

Design for ironwork/ metalwork - an eagle supporting a blank coat of arms. The plate is numbered and signed.
Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1865-1877
Graphite, brush and brown watercolor on paper
Drawing

Two women stand at the edge of a river, beyond which a church and other buildings are shown. at left is an elevation.
La Terre
P. Moithey, French, active 18th century, 1773
Etching on laid paper
Print

A design for a trophy representing the earth or land incorporating agricultural tools such as a watering can, rake, ladder, scythe, flowering branches, wheat, flowers, and baskets of fruit and vegetables (cabbage, pears, grapes). The plate is titled and signed.
Vignette Referring to the Bible
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving with etching on paper
Print

An opened book with the lettering: "DEPOSITVM CVSTODI / Ad Timoth I. C. 6" rises over the symbols of the Evangelists and is flanked by palm and laurel boughs. Over it the Dove before a triangle. Rays, stars. Laterally are shown the triple mounts and the stars of the coat of arms of Pope Clement XI (1700-1721).
Sidewall
, 1875–85
Machine-printed paper

Scattered bouquets of morning-glory with secondary pattern of simple vine forms. Printed in pinks, white and gray on gray ground.
Textile
, 18th century
silk, metallic threads Technique: compound satin weave, brocaded

Pattern of architectural motifs and large scale vases from which grow large-scale plant forms.  Entire pattern brocaded in pink, green, and tan silks and gold (gold loosely wound on yellow silk core) thread on a white satin ground.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of chevrons in shades of red alternating with chevrons of yellow and white; picot edges.
Woman
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Partial sketch of a female figure.
Plan Coupe et Elévations d’une Melonnière éxécutée des chez Mr. J.B. Paulée à Douay, dépt. Du Nord, d’après les Déssins de Mr. Belanger fils
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with three elevations and a plan for a melon house with trees in the background. The plate is titled, numbered, and signed.
Alternate Views of a Domed Building with Portico
, 1650-1700
Pen and bistre, sepia wash on paper, lined
Drawing

Vertical rectangle showing two alternate views: at left, façade of a domed building with a view into the interior; at right, a portico or colonnade with statues. In the foreground are figures and a staircase.
PLAN GENERAL DES BATIMENS ET DU GRAND JARDIN ELECTORALE DE SAXE AVEC CES DEPENDANCES PROJETE SUR UN TERRAIN SIS A UNE DEMIE LIEU DE DRESDE
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1771
Etching and engraving on paper
Print

A plan for a garden and its buildings located near Dresden lettered with an explanation and description. In the upper left and right corners are vignettes featuring garden architecture with columns, fountains, putti and coat of arms. The plate is titled, numbered, dated, and signed.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of flower spray with scrolling stem in red and yellow on a white ground. Borders showing scallops in red and yellow.
The Head of a Despairing Young Woman
Andrea Appiani the Elder, Italian, 1754 - 1817, late 18th century
Black crayon, brush and white gouache on brown paper
Drawing

Turned toward the right, slightly raised and shown nearly in profile. The back part of the head, beyond what seemingly is the rim of a cap, is only partly outlined.
Sample Sheet, Two Designs for Cups and Saucers
, ca. 1825
Brush and gray, yellow, brown watercolor on cream paper
Drawing

Two designs for cups and saucers probably made of cut glass, opal, hyalite. Arranged in a vertical row showing a cup at top, a saucer below, the number "3" inscribed in pen and black ink in the interval between. Second design for a cup and saucer below with the number "4" inscribed in pen and black ink in the interval between. The cup handles are at right. The decorating consists in the upper designs of rows of ovoids in gold bands, in the lower of framing bands and garlands and gold vermicular ornamentation.
Ornament Design
Lange, active 1730 – 1750, mid- 18th century
Etching and engraving on laid paper
Print

Detail of rocaille ornament on a panel with shell, acanthus leaf, c-scroll, and floral motifs. The plate is signed.
Wallpaper Design
, 1825–35
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the base, an entablature on top. The scheme of the decoration is that of pilaster strips supporting an arcade, which is decorated with palmette motifs with lighted torches. The panels between the pilasters show crest borders, and in the arches couches with trophies of objects referring to the arts, and for the most part including a wreath. Black framing stripes.
Project for the Elevation of a Villa
Paolo Posi, Italian, 1708 - 1776, late 18th century
Pen and brown ink; brush and gray wash and watercolor on off white laid paper.
Drawing

Elevation view of a four storied villa with a central curved porch at front that extends above the second story. The second level balcony has two figural sculptures and plants in urns.  Eight sculptures crown the roof balustrade as does a central cross that functions as a weathervane.
To the left and right of the building, fountains with central obelisks supported by sea gods are surrounded by trees. Vigorous  gray clouds fill the sky and figures walk in the foreground. Two figures in a carriage at left.  

.
Grilles des angles d'entrée de la PLACE ROYALE DE NANCY
Jean Lamour, French, 1698–1771, 1767
Etching on laid paper
Bound print

Plate with a detail from the wrought iron gate at the Place Royale in Nancy with an arched grill topped with the interlaced L's for the French King Louis XV and an ornamental vase with flowers to the left. A lantern hangs off the end of the gate supported by a decorative rocaille arm. The ironwork is decorated with rococo ornament and motifs. The title is lettered below and the plate is signed.
Valley of El Arabah, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 21, 1868
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of the Plains of Arabah in present-day Israel and the Mountains of Edom beyond, as viewed from an elevated perspective on a bluff near the edge of the plains. In the foreground, a wide, eroded canyon features a dry, winding riverbed at center and a path with camels and figures that curves around sloping hillsides at right. In the middle distance, the flat plains stretch horizontally across the composition, while the barren and rocky Mountains of Edom create a jagged horizon with Mount Hôr visible in the distance at far right.
Design for an Altar Painting, Saint Dominic and Saint Catherine of Siena Receiving the Rosary from the Virgin and Child
Fedele Fischetti, Italian, 1734 - 1789, 1760–89
Pen and brush and black ink, gray wash on off-white laid paper
Drawing

Drawn border in brown ink forms the arch at the top. The Saints kneel before a pedestal upon which the Virgin is seated with the Child in her lap. She gives a rosary to Dominic; Catherine receives hers from the Child. Angels and attributes accompany the Saints.
Plate 21, from Grotteßco in diverßche manieren (Various Grotesques)
Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, 1564
Etching on laid paper
Print

Grotesque panel. In center, Mercury stands on a Pegasus.
L'eau
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching and engraving on paper
Print

An allegorical arabesque panel design representing ‘water', featuring putti, nude female figures, swans, a vase, fish, water, butterflies, dolphins, foliate branches, scrolling leaves, pearls, and rosettes. The plate is titled, signed, and numbered.
Sunset in Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil on paperboard
Drawing

Landscape and atmosphere sketch showing view of the sunset over the mountainous landscape of Jamaica. A luminous sunset glows in a gradient from red-orange to purple to deep blue. Gray, low clouds float above a mountain range rendered in dark green. Beige ground visible along the lower margin.
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. The disk above and the three drops below are connected by two stems, with a disk in the center between an oval diamond above, and a round one below. Bevelled corners.
Embroidery sample
, 1775–1805
silk, net on silk foundation Technique: embroidered and appliquéd on compound weave

Multicolored silk embroidery in a floral design and net applique on a ground of green and light brown silk striped cloth.
Study of Gesturing Hands
, 18th century
Red crayon on light brown paper
Drawing

Horizontal rectangle. In the center, a study of a man's pointing right hand with pushed-up sleeve. Top left corner, a man's right hand holding a stick.
Woodblock Trial Proof for a Printed Textile
, 1790–1800
Brush and gouache, black chalk on paper
Drawing

Two red, green and yellow leaves, with seed pods dropping seeds.
Design for an Embroidered Woven Fabric
, 1825–1850
Brush and gouache on oily tracing paper
Drawing

Fantastical cones with great calyx form rows; they are connected in vertical rows by undulated stems, of which a side stem forms a part of a plant, which are disposed in staggered rows, which alternate with those of the cones. one cone showed the coloring, another and parts of two more being outlined.
Sidewall
, 1750
Leather, silvered, varnished and painted

Vining floral design. Red flowers and blue flowers on vining intertwined stems. Painted on embossed ground.
Fragment
, 4th–6th century
Warp; Z-spun linen. Wefts; S-spun linen, S-spun wools. Technique: supplementary weft loops in plain weave foundation.

Face of a person with prominent eyes looking left.
A Horse and Carriage
Constantin Guys, French, 1802 – 1892, ca. 1860
Pen and brown ink, brush and brown wash on paper laid down on mousseline de soie
Drawing

Horizontal rectangle. A gentleman driving a calash with a footman behind. Coming toward him on the left, a coach drawn by two horses with two footmen behind.
Jardinière
, 1765
Enameled tôle

Oval, with shaped edge and simple wire handles. Neutral brown field, long elliptical medallions on front and back, enclosing Chinese landscape, in color and slightly in relief.
Floral Design
, 1740–1770
Black, white, and taupe crayon, brush and wash on bluish-grey paper
Drawing

A bunch of stems, with six large blossoms and leaves in the bottom part and small sized blossoms in the top part.
Elévation et Profil d'un Bureau à Cylindre avec ses Tiroirs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and profile of a design for a roll-top desk, showing the placement of its drawers. The plate is signed and numbered.
Title Page
Jean-Baptiste Pillement, French, 1728–1808, 1765–73
Etching on laid paper
Print

Title page from a series of six prints. Designs for fantastical chinoiserie-style flowers. The title is lettered in the lower half of the page, framed by a round flowering branch, with large flowers stemming up from the branch, filling the top half of the print. The plate is signed.
Portique de treillage au milieu du petit Bois et en face du Parterre de l’Orangerie à Chantilly (Left Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

wo plates printed side by side. Views of garden details of Chantilly with trellis/ lattice arches/ gates framed by trees with water in the foreground and figures throughout the paths. The arches feature ornamental paneling, rosettes, pilasters, and finials. The plates are titled.
Stage Design, Staircases
, early 19th century
Pen and brown ink on paper
Drawing

Horizontal rectangle. Detail designs for two different staircases in palace.
Woodland Stream
Winslow Homer, American, 1836–1910, 1895
Brush and watercolor, charcoal on paper
Drawing

Recto: A stream punctuated by boulders in the white-capped, steel-gray waters; Verso: arithmetic notations in graphite, a sketch of a Chinese vase on a pedestal, two unfinished male torsos, and portion of dog's head similar to head of dog in "Huntsman and Dogs".
Portrait of Jan Brueghel the Elder, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1630–1641
Etching on paper
Print

Portrait of a bearded man, turned toward the left, looking out at the spectator. He wears a large collar, and his right hand is visible, holding the folds of his cloak.
Design no. 1878 for the Embroidery of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Left bottom corner obliquely disposed flower boughs. A group of plants alternates with six beads along the edges.
Two Tailpieces or Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching on laid paper
Print

Second plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. Two fleurons or tailpieces, one above the other, made of flowers, leaves and branches. The plate is numbered and signed.