biglam/cooper-hewitt-alt-text huggingface dataset:
Garden Pavilion in the Corinthian Order
André-Jacob Roubo, French, 1739–1791, 1775
Engraving
Print

Elevation of a garden pavilion with an archway, four double columns and two female statues.  Inscription across the top margin.
Waistcoat
, 1751–1800
silk Technique: embroidered on satin weave

Man's white waistcoat embroidered with polychrome silks in a floral design. Blue and yellow are especially bright.
Sketch of Hop Vine
Samuel Colman, American, 1832–1920, 1880
Graphite on paper
Drawing

Two stems of a hop vine, with leaves and flowers. Upper left corner, study of a single leaf.
The Sense of Taste
François-Thomas Mondon, French, 1709 – 1755, ca. 1740
Brush and watercolor on paper, mounted
Print

At left a man on a ladder gathers grapes which he hands to a woman carrying grapes in her apron. Seated at right are a man and a woman to whom he offers grapes and fruit. Under an arch of trellis-work on which grape vines grow. An apple (?) tree in the background. Bottom: a leopard (?) sits on rocaille and shell motifs over: "LE GOUST. / à Paris chés Charpentier, rue St. Jacques au Coq. Avec privilège du Roy". Bottom left: "Mondon invenit".
Compartimens à l’usage des Ciseleurs et Orfevres
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Twelve designs for frames decorated with neoclassical motifs, each with variations of the meander or Greek key motif or repeating pattern. The plate is titled, numbered, and signed
Winter View from Long Hill, Hudson, New York
Frederic Edwin Church, American, 1826–1900, January 1866
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a winter view of the Catskill Mountains and the Hudson River Valley looking southwest from the artist's property on Long Hill near Hudson, New York. In the foreground at right, a rounded slope descends to the left and gives way to a small, partially wooded ridge at center. In the background, puffy clouds and the low-lying sun hang above the southern end of Catskill Escarpment, with Overlook Mountain visible at center. The interceding middle distance is darkened by shadow.

Verso: Landscape sketch showing a winter view of the Catskill Mountains and the Hudson River Valley looking southwest from the artist's property on Long Hill near Hudson, New York. A grove of trees on a nearby ridge is visible at center, while in the background, sun beams emanate from behind the rugged Catskill Escarpment. At right, separated by a diagonal line, a portion of a panoramic view of a mountain range is included.
Plant Sketch with Faces
Frederic Edwin Church, American, 1826–1900, 1844 - 1846
Graphite on white wove paper
Drawing

Mixed sketches showing, at center, a plant with broad leaves growing at the base of a tree, and, at upper right, five incomplete faces--one viewed in right profile and the others, frontally.
Four Cartouche Designs
Juan Dolívar, Spanish, active in France, 1641–1692, ca. 1690
Etching on paper
Print

Four cartouche designs. The upper design is made up of olive branches with winged putti musicians below and the head of Apollo above surrounded by rays of light. The upper middle design is in the form of a funerary monument or a tomb with winged angels, skeletons, incense burners, drapery, and festoons of leaves. The lower middle design includes olive branches, and satyrs/ fauns. The lower design features scenes of war with flailing bodies, a canon bomb exploding, smoke and weapons (arms and armor). The plate is numbered.
Button
, 1830–53

1931-59-73: Slightly convex button showing cock (facing right)...
Design for a Tomb
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Upon a base stands a sarcophagus between putti similar to -1255 right. The putto, at left, carries branches, that at right sticks (?) in their outside hands. The pedestal with cover is fluted. ABove, stands a variation of -1259, the woman carries the cross in the left hand and supports a medallion with the right. Behind the upper part is a niche in the shape of -1350, with panels decorated with trophies of weapons. The niche is framed outside by a laurel moulding.
Rainbow over Wooded Hills
Frederic Edwin Church, American, 1826–1900, 1870–73
Graphite on gray wove paper
Drawing

Landscape sketch showing a view of a portion of a rainbow arching over a range of wooded hills, likely near the artist's property in Hudson, New York. At far left, the rainbow's striated bands rise and extend out of view at upper left, while a low range of hills covered in trees extends horizontally across the composition in the middle distance. A dark declivity is visible at center. In the background, a rolling mountain range is faintly visible.
Sketches along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray paper
Drawing

Mixed sketches showing views along the Magdalena River in Colombia, including a long, grassy bank viewed from the river at upper left, a vine-covered tree reflected in the water at lower left, and a loose sketch of a ceiba tree and details of its leaves at upper right. Below it, a detail of a castor oil plant may be included, which explains the "Higuerote" inscription at center right, which is a mistranscription of the Spanish word for castor oil, "higuereta."
Detail of door panel, bedroom of Marie Antoinette, Palace of Fontainebleau, France
Frederick Marschall, ca. 1885
Brush and watercolor, tempera on heavy paper
Drawing

Decorative panel, left unfinished in this rendering. Urn of flowers beneath, some of the foliage framing arabesques and filling the panel. Upper portion, Figure of Vanity, attended by winged Amor.
Strapwork Design and Landscape
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

At top, a strapwork escutcheon with harpies and swags. Below, a landscape with two men on horseback.
Stage Design, Group of Antique Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Group of antique buildings, on vaults.
The Genius of Modesty Preventing Love Unveiling Beauty
Thomas Ryder, British, 1746 - 1810, 1783
Stipple engraving on paper
Print

The nude reclining figure of Venus is seen admiring herself in a mirror held by a putto. Cupid f lies above and tries to lift her veil held by another putto.
Fragments
, 15th century
silk Technique: two interconnected structures of 5-harness satin (blue) plus 1/2 twill (yellow)

Fragments of woven fabric which was probably patterned by two offset interlocked rows of vertically symmetrical ogee - the same ogee in each row. The ogee is formed by leaves ending in a leaf finial at the top and a leaf pendant at bottom. The ogee encloses a floral motif.
Dress
, 19th century
cotton and silk Technique: embroidered

Long coat-shaped dress of heavy black cotton, embroidered in colored silks of red, green, white, blue and orange. Long fitted sleeve embroidered entire length and around cuff. Robe closes in front with flap to close over, open at side. Embroidery largely in geometric pattern with large stylized leaf form. All seams and edges embroidered. Edges faced inside with printed cotton, "paisley" cone shapes on red; may be remains of lining.
Self-Portrait of Antoine Watteau
Antoine Watteau, French, 1684–1721, 1727
Etching
Bound print

Portrait of Antoine Watteau with portfolio and pen in hand. The plate is signed.
Le Printemps
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with arabesque ornaments and motifs including intertwined floral wreathes, arrows, scrolls, and ivy. The plate is signed; the title is inscribed in graphite, but the heart shaped cartouche given the printed title "le Printemps" in other versions of the Recueil Jullienne is different.
Photograph of Mural Design
Francis Augustus Lathrop, American, 1849–1909, before 1914
Photograph on sensitized paper, mounted on paper
Photograph

Depicts mural design
LES JARDINS DE CYTHERE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Scene of a fountain with anguipeds set in a garden with well-dressed individuals, commedia dell'arte figures, and a winged putto strolling and reclining. The vignette is framed by ornamentation, with motifs including drapery, terms, garlands, cupids with arrows, branches, trophies, dolphins, monkeys playing musical instruments (singeries), and a cartouche at the bottom framing an antique bust. The plate is signed.
Design for a Mass-Operational House Designed by Hector Guimard, Chimney Support Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the chimney supports.
Fringe
, 17th century
silk, metallic thread (silver strips on silk core) Technique: woven

Fringe with a silver thread heading in a lozenge design with looped and twisted silver skirt threads. Each supports a tuft of red, blue, green or yellow floss.
Fragment
, 16th–17th century
linen Technique: needle lace

Fragment in the shape of small bell-shaped flower. Central blossom with small stems extending out below.
Textile
, early 19th century
silk, metal-wrapped silk Technique: supplementary warp velvet in a 3/1 twill foundation, cut loops. Embroidered in satin stitch using a 3-ply metal-wrapped silk thread.

Coffee-colored velvet embroidered with golden bees in off-set repeat.
Trimming
, 16th century
silk, metallic thread Technique: woven

Conventionalized design of flowers and leaves.
Panelling in Hotel Roquelaur,l Bedroom and Wall of Adjoining Room
Jean-Baptiste Le Roux, French, ca. 1677-1746, ca. 1727
Etching on paper
Print

Elevations of the two walls. bedroom, at left, a window with a mirror at right. At right, a section of the wall with a great mirror with narrow paneling. Rich carvings of acanthus scrolls. Inscribed, upper margin: "Lambris de l'Hotel de Roquelaure a Paris du dessein de Mr. le Roux Architecte / meitié de la decoration du côté des fenêtres du cabinet qui suit la chambre à coucher"; lower margin, center: "A Paris chez Mariette rue S. Jacques aux colonnes d'Hercules".
Textile
, late 19th century
wool, linen Technique: woven with supplementary warp pile (velvet), pressed

Close-set repeat of small stylized rosettes alternating with dots, in gold-colored wool velvet. Motifs in relief on pressed ground of same.
Consecration of a Priest
, ca. 1840
Wood engraving on paper
Print

A bishop holds his hands over a kneeling young man with an alba. Other priests in the rear.
Cover
, 17th century
linen Technique: needle lace (reticella) Label: linen needle lace (reticella)

Reticella squares joined by a band of sheer linen with reticella insertions finished with a three-inch pointed reticella edge. The designs are circles, half circles and star shapes within circles and squares.
Fringe
, 18th century
silk Technique: plain weave

Yellow fringe with a heading and looped skirt threads forming a pointed edge; each group of four supporting a tuft.
Box and cover
, 1853–70
Cardboard

Rectangular box covered with watered white paper. (B) Cover, with watered paper on outside, edges framed with gold paper.  Oval label on top "550 Broadway 552 + Tiffany Compy + New York." Inside, large label printed in lavender.
Ceiling, from "Grands Carts de Plafons"
Jean Le Pautre, French, 1618–1682, 1661
Etching on paper
Print

A = Jombert 39, 1. Address in bottom margin: ''Auec priuil. 1661.,'' at left; ''Se vendent a Paris chez Pierre Mariette rue S. Iacquis a lesperance,'' at right. No number. B = J. 39, 3. Bottom margin like A, but without the date. C = J. 39, 4; like B. D = J. 39, 5; like B. | Mat 14x18 | Guilmard, p. 71, No. 39
Textile
, 19th century
silk Technique: embroidered on gauze weave

Fragment of silk gauze embroidered with small scale flowers and buds in blue and white on a dark blue ground that is self-patterned with a design of cherry blossoms. Probably a fragment of a summer robe.
Tassel
, late 16th–early 17th century
linen Technique: knotted

Tassel attached to a scalloped border. Three cross arms. Made with tiny knots that give the appearance of fringe.
Fragment
, 19th century
cotton, metallic thread Technique: plain compound weave with brocade

Single panel of silver and white metal cloth. Design of broad serpentine bands of flowers and foliage alternating with vertical repeat of large symmetrical floral sprays.
Page Two 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

Design for a circular clock on a bracket. Lower part conceived as rocks whereon two dogs appear. Two trees support the clock. Above, an eagle on a cloud. Inscribed, upper left: "B"; lower right: "2"; lower left: "Oppenort inv."; lower right: "Huquier sculp." center: "Avec privilege du Roi".
Fragment
, 1200–1400
wool embroidery on cotton foundation Technique: embroidered on plain weave

Fragment of loosely woven white cotton embroidered with red and black birds.
Fringe
, 17th century
silk Technique: plain weave

Yellow fringe with a heading and looped skirt threads; each group of eight loops supports a tuft.
Study of a Right Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Right foot, seen from slightly above and to the left of it.
Fragment
, 1750–1800
linen Technique: bobbin lace (Brussels-style)

Narrow fragment with a scalloped border has a serpentine design with interspaced flowers.
Venus and Adonis (after Titian)
Robert Strange, Scottish, 1721 - 1792, 1779
In a landscape, nude Venus throws her arms about Adonis who is about to depart with his hunting dogs. At the right, Cupid looks on.
Print

Horizontal rectangle. In a landscape, nude Venus throws her arms about Adonis who is about to depart with his hunting dogs. At the right, Cupid looks on.
Classic London, St. Martin-in-the-Fields
Joseph Pennell, American, active England, 1857–1926, 1906
Etching in black ink on laid paper
Print

Composition limited to the center of the plate. Portico of the National Gallery, right, and St. Martin's seen in the background.
The Death of Amnon, Plate 1 from "Gland Alcoves a la Romaine"
Jean Le Pautre, French, 1618–1682, 1667
Etching on paper
Print

Amnon is assailed during a banquet. Two women hold a paper scroll with the title before curtains.
Fringe
, 17th century
silk Technique: soumak weave

Dark yellow fringe with a soumak heading and skirt threads.
Trimming
, mid-19th century
cotton and metal strips Technique: woven

Trimming (galloon) with design of leave-and-flower sprays, set between ornamental borders; furnishing trim
Portrait of Pierre Séguier
Robert Nanteuil, French, 1623 – 1678, 1661
Engraving on paper
Print

In an oval enframement the bust of Pierre Séguier (1588-1672) is shown facing slightly right. He wears the order of the Saint-Esprit. Below center, the sitter's coat of arms in an oval enframement.
Textile
, 17th century
silk, metallic yarns Technique: compound satin weave with supplementary weft patterning (brocaded)

White satin ground brocaded with symmetrical design in gold, and green, coral and pink silk. Large, central fan-shaped ornamental motif with cornucopia and a bow. Backed with red silk and edged with gold metal lace.
Design for an architrave
, 1770-1790
Pen and Chinese ink, brush and watercolor, graphite on paper
Drawing

A left corner. Framing lines
Border
, 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Scalloped border with floral forms and circles.
The Lady and Death
Hans Sebald Beham, German, 1500–1550, 1541
Engraving on laid paper
Print

Vertical rectangle. A young woman walks to the right, seen in profile is accompanied by the figure of Death in the costume of a jester.
Cherry: Design no. 600
Chris Lebeau, Dutch, 1875–1945, before 1910
Material: linen (Quality no. 45) Technique: 4&1 satin damask
Napkin

Field: Cherries within a diamond grid.
Border: Clusters of cherries. 
"DV" in a cluster of cherries in each corner. Crudely embroidered mark on hem in one corner in red cotton.
Design for a Fountain
Charles-François Hutin, French, 1715 - 1776, ca. 1776
Pen and ink, brush and gray watercolor, black chalk, graphite on paper
Drawing

Horizontal format design for a fountain likely designed for the city of Dresden. The figure of Galatea is shown sitting in a shell, leaning upon her left arm. Three mermen and a naiad support the shell. Another naiad offers pearls and other gifts to Galatea. At left is a dolphin with a child sitting on it and carrying a  a lighted torch. At right, merman leaning upon a dolphin blows a horn shell he holds with his left hand, and a swimming naiad. The background is formed at right by a slightly sketched relief. Above are three sections of an iron railing.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design of cross on mantel on yellow ground and mosaic like pattern in gray and blue, framed by black stone-like border.
Album of Prints: Ornaments in the Queen's Apartment at the Old Louvre designed by Charles Errard
Charles Errard, French, c. 1601 - 1689, 1664-1689
Album

Album of prints depicting ornament panels to decorate the apartments of Anne of Austria at the Louvre. Charles Errard was a painter and architect born in Nantes. He worked on a number of decorative projects for the various residences of the French Crown. This album shows his designs for one such project carried out in the Louvre for Queen Anne of Austria, mother of Louis XIV of France. Unfortunately most of the painter's realizations have been destroyed.
Jug
, 1849
Glazed stoneware

A highly decorative green jug with detail on the body, spout and handle. The center depicts a knight riding a horse in an outdoor scene.
An Encomium of that Ever Blessed Martyr King Charles the First
Ann Philby, American, 1747
silk embroidery on linen foundation Technique: embroidered on plain weave foundation
Sampler

Embroidered in cross stitch in green, red and yellow on natural linen.  Verse in praise of King Charles I, with running vine border with red flowers.
The Music Room of Fanny Hensel (née Mendelssohn)
Julius Eduard Wilhelm Helfft, German, 1818 – 1894, 1849
Brush and watercolor, graphite on white wove paper
Drawing

The music room of Fanny Hensel (nee Mendelssohn), pianist, composer and elder sister of the more renowned composer, Felix Mendelssohn-Bartholdy, was in the Hensel residence at no. 3 Leipzigerstrasse in Berlin. Well before her marriage and continuing for many years afterward, Fanny organized and programmed small musical gatherings which took place in this room. The room is dominated by a grand piano. The walls are hung with a collection of paintings. A desk and sewing table are placed to catch the sunlight. Simple white curtains at the windows, potted plants on the windowsills, and the bare floor suggest summertime. A large cross is placed on a table in front of a pier mirror.
Landscape, Darmstadt, Germany
William Trost Richards, American, 1833–1905, June 22, 1867
Graphite on paper
Drawing

Sketch of a doe and a fawn in a wooded meadow.
Cane Handle
Henry Rado, American, 1859–1921, late 19th century
silver, wood
handle

Walking stick handle with foliate knob above benedict bands of flowers.
Creamer
, 19th century
Porcelain

Overglaze and underglaze decoration in colors of American flag, eagels, head of Liberty with decorative borders of orange, gold, and black.
Band
, late 17th–early 18th century
linen Technique: bobbin lace, discontinuous tape

Band of curving vines radiate from a symmetrical central vase and flower arrangement.
Seated figure with tablet
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Seated female figure pointing to a tablet.
Study of foliage
William Trost Richards, American, 1833–1905, September 12-26, 1860
Graphite on paper
Drawing

Sketch of a leaves and flowers.
Fragment
, 19th century
straw or raffia Technique: bobbin lace

Band with a continuous, dense pattern rendered in a provincial style.
Lock and key
, 16th century
Iron

Rectangular cover plate depicting a series of robed figures arranged under arches.
figure study for a fountain design
Elihu Vedder, American, 1836 – 1923, ca. 1890
black crayons, white chalk, on buff paper
Drawing

vertical rectangle. The nude figure of a boy, standing, turned sharply to the right. The arms are uplifted, the left arm and right hand incompletely indicated. Pedestal suggested.
Sidewall
, 1830–50
Block-printed on machine-made paper, satin ground

Floral sprigs with draping tendrils printed on white satin ground. Flowers include roses and lilacs among others.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Eight acanthus leaf scrolls branch off from a square formed by four floral sprigs. Four floral bouquets or sprigs separate acanthus scrolls. A petite flourish fills each void. Printed on tan or off-white ground.
Sampler
Adelaida Matamoros, 1879
wool embroidery on cotton foundation Technique: embroidered in half-cross stitches on plain weave

The sampler is divided into three sections. In the upper third, a brown cow with a white calf, upside down to the center panel. In the center, a floral bouquet in many colors on a red ground, surrounded by geometric borders in shades of violet. In the lower third, the inscription in embroidered in blue on a blue ground, with a pillar on either side.
Frieze
Ithaca Wall-Paper Mills, Ithaca Wall-Paper Mills, inc. 1900-1907, 1905–1915
Machine-printed paper, liquid mica

Printed two across, mica frieze with stylized foliate designs reflected over a horizontal, double-line divide and printed atop a chevron background formed by white dots. Thin brown lines and a scalloped foliate pattern create the top and bottom borders. Pattern machine-printed in whites and browns on a tan ground.
Goblet
, 1760–80
Glass, blown with opaque white twist stem
goblet

Goblet of clear glass with ogee-shaped bowl, opaque white lace-twist straight stem and plain foot.
Border
, 16th century
silk Technique: brocatelle

Border with a grapevine motif. Birds and squirrels sit on branches, some appear to be eating grapes.
Scenographia Campi Martii, page from Il Campo Marzio dell'Antica Roma
Giovanni Battista Piranesi, Italian, 1720–1778, 1762
Etching with engraving on paper
Bound print

Composite scene of ancient ruins with various inscriptions in foreground. Scene of Campi Martii in distance with numbered sites correlating to columns of text flanking the scene.
Rufous-Vented Kinghunter, Plate 12 from Birds of Western Africa
William Home Lizars, Scottish, 1788 - 1859, 1837
Engraving, brush and watercolor on paper
Print

A pink-billed bird just above a stream. A white head and underside, with blue and brown wings, back and tail. Title and artists' names below.
Textile
, ca. 1860
wool Technique: block printed on plain weave

One of seven pages from a printed fabric sample book. Page is double-sided.
Plate II of "Travail et emploi du coton" from Diderot's Encyclopedia, Vol. I
Robert Bénard, French, 1734–1772, 1762
Printed black ink on white paper
Engraving

Six diagrams or illustrations of manner of combing and winding cottom. Hands shown, left.
Carpet fragment
, mid-19th century
wool Technique: double cloth

Carpet fragment showing a partial design of vaguely Islamic medallions with framing leaves and stems. In shades of beige, tan, brown, red, pink and black.
Border
, 1800–1850
Machine-printed

Almond-shaped guilloche pattern with interior motif.
Yoshida (Toyokawa Bridge), in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color
Print

Right, Toyokawa Castle with scaffolding and painters at work. Left, trestle-bridge crosses river to village. Beyond, mountain peaks.