biglam/cooper-hewitt-alt-text huggingface dataset:
Coconut Palm, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on off-white wove paper
Drawing

Botanical sketch showing the base of the trunk of a coconut palm in Ecuador, with a detail of its fruits at upper right. Dominating the composition at center, the base of the trunk is characterized by its cylindrical form, its horizontal bands, and its rough, vertical striations. Grass and other small plants grow around its circumference.
Design for Embroidered Waistcoat, pattern 1600 of the Fabrique de St. Ruf
Mademoiselle Montalent, ca. 1785
Brush and gouache on laid paper
Drawing

Buttonholes are not shown. A censer-like vase, in the holes of which flower boughs are fastened, stands upon the bottom edge.
Fragment
, 17th–18th century
silk embroidery on linen foundation Technique: embroidered in running, stem, satin and chain stitches on plain weave foundation

Two birds with wattles and dome-like shapes on their heads in faded pastel colors.
Sidewall
, 1775–85
Block printed on handmade paper

Vertical rectangle. Drop-repeating design of rustic shelter, in style of Pillement's "Baraques Chinois" and two figures of Chinamen, with festoons and sprays of flowers and foliage.
Rampes d'Escaliers a Grands Paneaux, avec Pilastres, et Console
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for metal stair railings with pilasters, and a bracket. The plate is signed and numbered.
Vase de plomb bronzé, dans le Bosquet du Bal à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from the Ballroom Grove in the gardens at Versailles. The vase is decorated with vines, grapes, leaves, ribbons, flowers, and acanthus leaf ornament with a mascaron in the middle and two animal mascarons at the bottom of the handles on each side. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Mantel Clock Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a mantel clock supported by two female herms columns, with their feet at the base. The clock face has roman numerals and is framed by a laurel leaf running pattern molding and putti morphing into scrolling acanthus leaves, holding a winged hourglass on the top. The whole is decorated with neoclassical motifs and ornament including scrolling leaves (rinceaux), fruits and flowers, cornucopia, festoons of leaves, and rosettes. The plate is numbered and signed.
Chimborazo and El Altar from Riobamba, Ecuador
Frederic Edwin Church, American, 1826–1900, July 13, 1857
Graphite on tan wove paper
Drawing

Landscape and atmosphere sketch showing a view of the mountains Chimborazo and El Altar from Riobamba, Ecuador, with cloudy, varied sky above. Scene sketchily rendered, mostly comprising of an outlined horizon featuring the peak of Chimborazo at center left. El Altar is faintly visible in the background at right. Above, a variety of cloud types stretch across the sky.
Various Types of Ployants and Their Development
André-Jacob Roubo, French, 1739–1791, 1770
Engraving on paper
Print

Various Types of Ployants and Their Development
Four Drawings of the Myth of Apollo; Decoration of a Wall over a Mantel, Sala di Apollo, Palazzo Cavina, Faenza
Felice Giani, Italian, 1758–1823, 1816
Pen and ink, brush and greyish-brown wash over traces of graphite on laid paper
Drawing

Apollo pursues fleeing Daphne, running toward left where her father, River-god Peneus, lies at foot of rock. Inscribed with graphite above: Apollo Dafne. Center: Apollo supports wounded Hyacinthus, surrounded by landscape. Inscribed in graphite: Apollo e Giacinto. Bottom left: Apollo runs towards dead Python, bow in hand. Setting shows narrow valley with temple of Delphi in rear. Inscribed in graphite: Apollo serpent/ pitone. Bottom right: Apollo as shepherd of King Admetus, seated before rock, blows flute. Mercurius listens from behind rock. Inscribed in graphite: Apollo pastore del re/ admeto. Verso: upper part of mantel shown. Wall panel suggested over mantel, square panels and contained in center, oval painting of standing genius or Apollo, possibly holding lyre. Entablature of room above.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornamental trophy design with a basket of fruit, musette or bagpipe, hat, horn, shepherd's stick, and flowers hanging from scrolling leaves (rinceaux). Framed by an oval cartouche of trellis, intertwined fruit, scrolling leaves (rinceaux), and fleurons. Possibly a design for a fire screen or hand fan.
Boy on a Swing
Winslow Homer, American, 1836–1910, 1879
Graphite on paper
Drawing

Vertical view of a boy wearing a hat, standing on the seat of a swing hung from the branch of a tree, and holding with his right hand the rope on his right.
Imagined Landscape with Ruined Temple
Frederic Edwin Church, American, 1826–1900, 1868–69
Brush and oil on thin, tan paperboard
Drawing

Landscape sketch showing an imagined view of an ancient, ruined temple on a plateau in an extremely rugged, mountainous landscape that is likely a composite view of scenery from Jordan, Syria, Lebanon, Greece, and the European Alps. In the foreground at right, a tall, dark, rough, and rocky outcropping frames the scene. Interestingly, the darker hue of brown pigment here was used by the artist to paint over an ancient temple facade with two-and-a-half columns. Its entablature (above) and stylobate (or base, below) are visible, having not been fully covered. The linear elements of the columns are still discernable beneath the paint. In the middle distance at left, a ruined temple with a four-column facade is situated upon a flat prominence or plateau. Its cliffside at center left is colored red and orange by the light of the setting sun. A lush, green, and narrow valley is visible at center that extends into the background, where a range of immense and towering mountains forms a high, undulating horizon. The tallest peak, at upper left, is snow-capped while its abrupt mountainsides also catch the sunset light. Above, rosy clouds hang in an otherwise blue-green sky.
Border
, 1890–1900
Machine-printed

Narrow band top and bottom of dot and dash motif in shades of tan with white highlights. Center design composed of leaf in shades of soft orange behind a bell-shaped flower in yellow. Between each leaf is another pointed leaf entwined around the first. This second leaf is in shades of tan with white highlights. The ensemble creates a rope effect.
Sidewall
, 1860–70
Block-printed

Two widths of paper with framework of acanthus scrolls in browns, and sprays and clusters of flowers and foliage in colors. Not complete repeats.  Printed in shades of periwinkle blue, pale aqua, lavenders, rose, pinks, greens, tan, brown, ochre.
Two Brown Birds on Branch with Tulip, Berries, and Insects
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Two Brown Birds on Branch with Tulip, Berries, and Insects
Plate
Joseph Théodore Deck, French, 1823 - 1891, ca. 1870
Glazed earthenware

Circular in form, with flat rim, concave center; dark blue background, turquoise blue leafy scrolls with white, yellow, orange flowers; right and left sides mirror image.  Glaze colors contained in cloisonne-like channels.  Back glazed mottled greens; high circular foot unglazed.
Ornament Designs for use on Teapots and Bowls
Masson, French, active late 17th and early 18th century, late 17th–early 18th century
Etching and engraving on paper
Print

Designs for two teapots along with detailed ornament for the decoration of teapots and bowls featuring strapwork, scrolling leaves, acanthus leaves, fleurons, flowers, rosettes, gadrooning, diaper patterns, mosaics, mythological creatures as the handle and spout with dragon heads and fish scales. The designs are identified with lettered inscriptions. The plate is numbered and includes the publisher's address below.
Title Page
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Title page and design for a decorative panel featuring arabesque motifs and a hanging musical trophy, including festoons of flowers, flowers, leaves, ribbons, scrolling acanthus leaves (rinceaux), s-scrolls, arrows, textiles, a lute, horn, and sheets of music. The plate is titled and numbered.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: cross, satin, back, running, eyelet, and twisted chain stitches on plain weave

Sampler divided into three vertical panels, each filled with border designs and floral ornaments. Selvage at both sides of the cloth.
The Genius of Castiglione
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1648
Etching on paper
Print

Vertical etching of the genius of the printer is represented by the figure of a young man, almost nude, seated at right, facing left in profile.  Before him is an altar dedicated to the Goddess of Painting.  He holds a trumpet in his left hand; a book in the other on which appears the inscription: "Genium Jo. Bendicti Castilionis Ianuen-Inv. Fe." At the left are two children, one beating a drum; the other holding a basket filled with doves.  Above, a genius blows the trumpet, while pointing to the crown of immortality.  At lower right, an inscription dedicated to M. de Mernhe, seigneur de Clootvyck.  Center below:  address of G.J. de Rossi and date.
Mount
, mid–late 19th century
Gilt bronze

One of three matching bracket pilaster mounts.  Empire style with pendant tongues decorated with palmetto below a frieze of rosettes
Virgin and child in glory
Paolo de Mattheis, Italian, 1662 - 1728, ca. 1600–1700
Pen and brown ink, gray wash, squared in brown ink, laid down
Drawing

Upper left, Virgin and child surrounded by putti reach out to bless donor kneeling at lower right.
Textile
, ca. 1700
linen Technique: damask

White linen warp and blue linen weft form a reversible textile. At left and bottom of Component A and left of Component B is a broad, large-scale floral serpentine border. Central portion has repeat of three horizontal rows of design. At bottom: Christ rising from the tomb with the inscription, "Auferstehung." Middle row: a group of buildings with the inscription: "Jerüsalem." Third row: Jesus appearing to Mary Magdalene with the inscription: "Jesus erscheint Maria Magd."
A Lady Promenading
Edouard de Beaumont, French, 1821 - 1888, ca. 1880
Brush and watercolor, tempera, pen and ink on bristol board
Drawing

Vertical rectangle. Standing figure of a woman, turned toward left. She wears a small hat and an elaborate colorful dress with a bustle and large bow.
Developpement de deux Entablements Architrave Ionique avec Corniche à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of two entablatures in the style of the Ionic order. The plate is signed and numbered.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornamental trophy design of a basket flowers framed and supported by branches of flowers and leaves. Possibly a design for a fire screen or hand fan.
Mt. Hor, Jordan
Frederic Edwin Church, American, 1826–1900, February 23, 1868
Graphite in light brown wove paper; verso: graphite
Drawing

Landscape sketch showing a distant view of Mt. Hor, near Petra, in present-day Jordan. Four laden camels--two viewed in left profile, two viewed from behind--stand in the foreground at lower center. The extremely rocky and rugged peak of Mt. Hor is visible in the background at upper center, viewed across a descending ridge in the middle distance. The summit has a wide, flat section that leads to rounded rock peak at right. An extremely small dome on the top of the peak indicates the Tomb of High Priest Aaron. Rolling mountain ranges are faintly rendered in the background.

Verso: Landscape sketch showing a loosely rendered view of the rugged, mountainous terrain around the peak of Mt. Hor, in present-day Jordan. In the middle distance at right, a craggy and rocky peak points into the sky, while at left, a rocky mountainside frames a distant view of receding rugged mountain ranges in the background.
Fragment
, ca. 1850
wool Technique: printed

Fragment with a square grid filled with multicolored flowers on a black ground. Grid is formed by bands brownish-red decorated with sawtooth stripes in white and yellow.
Great Writers, Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Ornamenti di fregi e fogliami
Stefano della Bella, Italian, 1610–1664, ca. 1648
Etching on paper
Print

Plate 8
Miyato River by Great Bank of Asakusa River, No 68 from One Hundred Views of Edo (Asakusa-gawa Okawa-bata, Miyato-gawa)
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

This image is capturing a summer tradition located on the Ryogoku Bridge. Visitors about to ascend Mount Oyama first rinse themselves in the body of water, Sumida. This sacred ritual is an act of purification before they begin their forty-mile hike towards the south. Two boats, one visible on the right side and the other located at the bottom left corner, filled with people are completing the last acts of the ritual after they have completed the climb up the mountain. As they chant, they are also holding paper strips (gohei), which will later be passed throughout the streets of Edo. This sacred act on the river is accompanied by other boats going along their typical daily routine.
Fables of Fontaine
Alexandre Buquet, French, 1802–1865, ca. 1830
cotton Technique: roller printed on plain weave
Textile

Four scenes, titled in French, illustrating four of la Fontaine's fables. In sepia on white.
Ornament
, late 16th century
linen Technique: bobbin lace, continuous braid-like

Single tab with radiating points and a crown-like shape in the center.
Jug
, 19th century
Stoneware

Stoneware jug with molded decoration.
Penn’s Treaty with the Indians
Benjamin West, Benjamin West, American, 1738 - 1820, ca. 1800
cotton Technique: printed by engraved copper plate on plain weave
Textile

Textile fragment showing an urban scene with Native Americans trading with Europeans.
Fragment
, 15th–16th century
silk, metallic Technique: satin weave with discontinuous supplementary weft patterning (brocaded)

Broad horizontal zigzag bands alternately silver and gold, separated by two fine zigzag lines of green. Each band contains trefoils of the opposite color (silver on gold or gold on silver) which alternate direction, outlined in green.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Black crayon on tracing paper
Drawing

Woman looking out, slightly to the right, with a scarf or covering over her head.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with connections)

Fragment of continuous tape bobbin-made lace.
Fragment
, 12th century (crossed out and marked 'L. C. Coast')
cotton Technique: painted

Small square of light brown cotton, painted in two shades of brown. Pattern showing alternately an animal and a human shape. One selvage intact.
The Rear Elevation of a Villa in Benoille
, 1725
Pen and ink, brush and watercolor on paper
Drawing

Horizontal rectangle. Corresponding to the print, in opposite direction. Traced; reverse; reddened.
Tassel
, 18th century
silk, wooden core, linen

Skirt of twisted green silk threads in two lengths, each supporting a small tassel. Head, cylindrical and broadening toward the base, is wrapped in green silk thread in chevron pattern. Collars of looped silk thread at top and bottom. Cord of braided green silk threads.
Frieze: Trophies of Arms and Putti
Jean Le Pautre, French, 1618–1682, 1671
Etching on paper
Print

A: like -97B; the name van Merlen has been scratched off the plate, and ''3'' changed to ''1''. Added: ''a Paris Chez Gerald Iollain rue St. Iacq. à l'Enfant Iesus pres la rue du Platre. 1687.'' B: like -97A. ''1671'' changed to ''1681''. Added: A Paris Chez Gerard Iollain le jeune rue St. Jacques a l'Engant Iesus.'' The name ''van Merlen'' slightly scratched out. ''1'' changed to ''2''.
Fragment
, mid-18th century
silk Technique: damassé (5-harness satin plus 1\4 twill)

Asymmetrical allover foliage pattern of flowers and architectural details. Design on the face in white on a peach-colored ground.
Band
, 19th century
linen Technique: bobbin made continuous tape with net added

Milanese type of folk lace with scrolls, leaves and sprays. Pattern is made with continuous tape and added net.
Marian Sewing
Mary A. Hallock Foote, American, 1847–1938, 1883
Graphite on heavy cream wove paper
Drawing

Young girl is seated in a bentwood caned chair in front of a table. She appears to be either sewing or embroidering.

From Catalogue Card: Vertical rectangle. A young girl is seated near a table. Her head is seen in profile, facing right, and bent forward over her sewing. Dated lower left: "Sept. 8th 1883." Inscription by artist, originally framed with drawing, now on mount: "Marian making a birthday present for her mamma / M. H. F. / Point lookout / Sept. 8th '83."
A Pair of Platters
, ca. 1730
silver plated, brass
platters

Oval platters with fluted cavetto. Flat marly with raised edge and a decorated with single and symmetrically opposed acanthus leaves.
Porte-cochère, Scott Cottage
Francis Augustus Lathrop, American, 1849–1909, 1881
Graphite and white heightening on brown paper
Drawing

Man mowing the lawn in front of a Victorian house. Trees at right, and driveway in front.
Fragment
, 16th century
linen Technique: needle lace (reticella)

Wide insertion of reticella that is divided into squares containing geometric motifs and conventionalized floral motifs.
L'Escarpolette
Jean-Baptiste Huet, French, 1745 – 1811, 1789
cotton Technique: copperplate printed
Textile

Panel with an incomplete design showing a symmetrical arrangement of elaborate suspended medallions, with festoons and ribbons, and a swinging female figure. Beneath her are two draped female figures that form two elaborate scrolls. Below, a crest supports rural farm scene of a rooster, hens with chicks and rabbits. Design inspired by the painting L'Escarpolette by Jean Honore Fragonard.
Odysseus and the Greeks i
Felice Giani, Italian, 1758–1823, Century: 18-19
Pen, brown ink, brown-gray wash, over traces of graphite Support: off-white paper
Drawing

Vertical rectangle. Polyphemus lies in the foreground, getting his bowl filled with wine by two Greeks, Ulysses watching the effect. Pitchers, weapons and bones of the devoured Greeks are shown around. In the middle plane are shown at left two men holding the end of the stake
The Weather Peasant: "Das Schadet Nit"
Hans Sebald Beham, German, 1500–1550, ca. 1542
Engraving on laid paper
print

Vertical rectangle. A peasant is represented standing, facing left, seen almost from the back. His hands are behind his back.
Textile
, mid-19th century
cotton Technique: woodblock printed on plain weave, glazed

Length of chintz with a dark purple ground with large flower and foliage design arranged in allover pattern of roses, lilacs, etc. with large leaves. Printed in reds, violets, drab brown, faded yellow, and blue-green. The leaves show blue and yellow combined; yellow has faded to leave a bluish tone.
Fragments
, 15th–16th century
silk Technique: supplementary warp forming cut pile in a 4&1 satin foundation (velvet)

Deep red cut and voided velvet with a design of lobed medallions with central pineapple or pomegranate motifs in the linear style.
Two Plates, from a Napoleon III Table Service (Assiettes, Service à Chiffre Doré de l'Empereur Napoléon III)
Sèvres Porcelain Manufactory, French, established 1756, 1846–1868
hard paste porcelain, vitreous enamel, gold
plates

Flat well decorated with N in interlaced scrollwork, crowned. Flat marli with gold rim and narrow ivy vine.
Ribbon
, 17th century
silk, metallic

Leaf motif in black and silver
Sewing instruction book samples
, 1829
linen Technique: darning and hem stitches on plain weave

Squares of linen fabric, each one hemstitched and ornamented with a design worked in darning stitch in purple and yellow silk. Components a-h) marked ''9th Class Specimens."
Fragment
, 17th century
linen Technique: bobbin lace, Binche style with no ground

Binche style fragment with a scolling ribbon like design with snowballs and braided connections. Narrow scalloped border made sparately and sewn on.
No. 98
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, faceted cut and polished
Champagne glass

"Tulip shape" glass of mouth-blown crystal champagne glass, elaborately facet-cut and polished, with precisely planned bubble in the stem.
Button
, 19th century
Pearl, shell, brass, copper, glass

Flat circular button with shanks, varying.

On card 31
Textile
, ca. 1840
Printed by engraved roller on cotton plain weave.

Three scenes of children playing within a diamond floral grid. In red on white. 
Designed to be sewn together as a half-drop.
Sampler
Ann Winchester, English, 1752
wool, silk Technique: embroidered in eyelet, cross, stem, and satin stitches

Very finely stitched in soft shades of brown, tan, blue, green, yellow and pink silk on a natural linen ground. In the center panel, a cross stitch alphabet and religious verses in tent and eyelet stitches, a flower urn, a house, and various figures, animals and cupids at the bottom.  With a wide floral border in satin stitch.
Album of Jewelry, Ornament, and Object Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Album

Album with two series of prints containing designs for ornament, jewelry (rings, earrings, bracelets, broaches, hairpieces, cases, boxes, seals, sword hilts and guards. The plates are numbered and signed. Bound in blue paper boards with a brown leather lettering piece on the spine with fleurons and 'Morison' in gold tooling.
Button
, 19th century
Pearl, shell, brass, copper, glass

1931-59-225-e: Flat circular button with shanks, varying.

On c...;     1931-59-225-g: Flat circular button with shanks, varying.

On c...;     1931-59-225-h: Flat circular button with shanks, varying.

On c...;     1931-59-225-k: Flat circular button with shanks, varying.

On c...;     1931-59-225-m: Flat circular button with shanks, varying.

On c...;     1931-59-225-n: Flat circular button with shanks, varying.

On c...;     1931-59-225-o: Flat circular button with shanks, varying.

On c...;     1931-59-225-p: Flat circular button with shanks.

On card 3150
Design for Sideboard of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Sideboard of Mahogany on six fluted and turned tapering legs; two drawers stacked vertically in convex central section of tripartite front are topped by another pair of smaller drawers arranged horizontally; low backsplash at back of top.
Interior View of the Nave, Saint Peter's, Rome, Looking Toward the Altar
Ennemond Alexandre Petitot, French, 1727 – 1801, 1748–49
Pen and black ink, brush and gray wash, green, brown watercolor on cream laid paper
Drawing

Circular drawing showing the interior of a great basilica, identified as St. Peter's in Rome by an inscription below the image. The view looks down the barrel vaulted nave toward the altar in the distance at left. Small figures are placed in the middle distance and foreground.
Mug
, ca. 1810
Glazed earthenware, luster decoration

Cylindrical form with squared loop handle; yellow ground with silver luster decoration of flower and foliate forms; silver bands at mouth, foot, and on handle. Yellow interior.
Textile
, ca. 1840
cotton Technique: printed by engraved roller on plain weave

Isolated scenes within a floral grid; boy with a butterfly net. woman with watering can on a staircase, women at ease in a garden setting and children with a nest of baby birds. In purple and yellow.
Design for Cartouche from "Cartouches Nouvellement Inventez"
Charles-Nicolas Cochin the younger, French, 1715–1790, 18th century
Etching on paper
Print

Empty cartouche decorated with trophies, griffins, and large helmet with plumes, two nude female figures.