biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Waistcoat
, 1785-1795
Pencil and various gouache colors on paper
Drawing

Design for an embroidered corner. A shield with an urn stands at the bottom of a fantastical plant, showing three peacock feather leaves. A row of triangles is at the edge. A fan and a leaf are to grow alternatively from their tops.
Two Frame or Cartouche Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Two designs for frames or framing devices featuring foliate branches, festoons of flowers, scrolling acanthus leaves (rinceaux), laurel leaves, fleurons, basket of flowers, a watering can, sheets of music, and a bagpipe or musette. The plate is signed and numbered.
Winter Landscape at Sunset, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–75
Brush and oil on paperboard
Drawing

Landscape sketch showing a view of Blue Hill and its environs on a cold winter evening from the artist's estate near Hudson, New York, known as Olana. In distance, purple mountains are partly illuminated in orange by the sinking sun. Above, twisting formations of purple, orange, and cream clouds allow blue sky to peek through along upper margin. Covered in trees, Blue Hill is visible in the foreground at right.
Stage Design, Interior of Circular Building
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of circular building, the upper walls of which are supported by columns.
Design for Three Iron Grates
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three iron grates featuring ornament motifs including rosettes and scrolls. The plate is signed.
Projects for Decorations of Panels
, ca. 1590
Black chalk, pen and ink, brush and light brown, gray watercolors on laid paper.
Drawing

Three escutcheons in front of a slightly shorter oblong panel, lateral escutcheons face each other. On verso:An escutcheon in part of an oblong panel, masks face each other, laterally
A Grotesque Beast
, ca. 1600
Red chalk, white heightening on paper
Drawing

An animal seen in profile. It has horns, ridges along its spine, a tail and bifurcated tongue.
Design for a Ceiling
, ca. 1780
Graphite, pen and ink, brush and wash on paper
Drawing

Portion of a ceiling divided into framed panels, each with a figural frieze, mask, animals or grotesque.
Design for a Ewer
Jean-Charles Delafosse, French, 1734 – 1789, ca. 1765
Pen and black ink, brush and black and grey wash, graphite
Drawing

The handle is at left. Its bottom part consists of a satyr who is embraced by a mermaid seated on the shoulder of the ewer. A swan and two girls surround the neck of the vessel. The fluted body show festoons suspended from a faun's mask. S
Textile
, early 19th century
cotton Technique: roller and block printed on plain weave

Peacocks, peahens, and small birds with roses and other flowers as the background.
Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 9, 1866
Graphite on tan wove paper; verso: graphite
drawing

Landscape sketch showing a vibrant sunset with bands of clouds arching over the southern end of the Catskill Escarpment, as seen from the artist's property near Hudson, New York. The rugged peaks of the Catskills, including Overlook Mountain, form a jagged horizon as the setting sun illuminates the clouds above.

Verso: Landscape sketches of the dark silhouette of a mountain range and, separately, the sun's light reflecting off of clouds, likely observed from the artist's property near Hudson, New York. At right, the sun shines its light onto clouds above, loosely forming the shape of an inverted triangle. At left and oriented to the left, a shaded mountain range is shown beneath a dark sky with the moon above at left.
Figures
Robert Frederick Blum, American, 1857–1903, 1890
Graphite on wove paper
Drawing

Recto: Partial sketches of a female figure wearing a bonnet; Verso: Sketches of figures.
Green River, Wyoming Territory
Thomas Moran, American, b. Britain, 1837–1926, 1879
Brush and watercolor, white gouache, graphite on tan wove paper
Drawing

Landscape viewed horizontally across a body of water with a rocky mesa at right center. Dramatic red and white strata against blue sky reflected in water.
Decorative panel
, 1850–1860
Block printed and hand painted on a combed background

Vertical rectangle. Simulation of elaborately carved wood frame, oval, brought to the rectangle by simulated surface of graining. Enclosed in the frame is a painted representation of macaws in a setting of tropical foliage with a waterfall in the background.
Fragment
, 18th century
silk and metal Technique: cut and uncut pile in a satin foundation faced with silver metal (velvet)

Pattern of floral sprigs in green, blue, and brown pile in grid of brown pile on a silver faced white silk ground.
Welch Mountain in Waterville and Thornton, New Hampshire, from Sandwich Notch Road, Campton
Daniel Huntington, American, 1816–1906, 1855
Graphite on pale green paper
Drawing

Mountains, center, and in distance at right. Ridges shown in left, right, and foreground.
Clouds
Frederic Edwin Church, American, 1826–1900, 1860–1880
Graphite on gray wove paper
Drawing

Atmosphere sketch showing an expansive view of clouds, likely over the Hudson River as seen from the artist's property in Hudson, New York. In the foreground, nearby low-lying clouds flow over rolling terrain (or are, perhaps, the hills themselves). In the distance, a tumultuous, layered mix of wispy and puffy clouds intermingle in a chaotic and indistinct sky. Patches of open sky are visible at center and upper left. 

Verso: Three pencil scratches at far right, indicating a portion of panoramic view.
Straits of Belle Isle, Canada
Frederic Edwin Church, American, 1826–1900, June-July 1859
Graphite on light brown wove paper
drawing

Landscape and seascape sketch showing a view of the cliffs of Belle Isle as seen from the ocean's surface off the coast of Newfoundland and Labrador, Canada. The water's surface extends through the foreground to the middle distance, where the island's coastal cliffs rise steeply out of the sea. Layers of soil and rock strata are visible around the cliff's many eroded embankments. The island's relatively flat top stretches across the composition and out of frame at right.
Two Exterior Elevations for a House
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a house with two exterior elevations with trees in the background. The house features neoclassical motifs, columns, and statues in niches. The plate is titled, numbered, and signed.
Design for a door
, 1750
Pen and ink, brush and Chinese watercolor, graphite on paper
Drawing

A simplified scheme with dispersed Louis XV motifs. The lunette section shows an over panel with a shield.
Stage Design, Tomb in Monumental Form
Luigi Ricci, Italian, 1823 - 1896, 1860–80
Pen and sepia ink, brush and bistre wash, graphite on paper
Drawing

Horizontal rectangle. Gothic tomb built in very elaborate form, sarcophagi in foreground to the left.
Study of Woman for "Philosophy and Christian Art"
Daniel Huntington, American, 1816–1906, 1868
Graphite, white chalk on brown wove paper
Drawing

Woman seated facing frontally, her head turned to the left, her left arm on a book or tablet, her right hand pointing to it. Below, two hands and an open book. Verso: Bust of a woman.
Five Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 5 and 6, 1859
Graphite and white gouache on light brown wove paper
Drawing

Seascape sketch showing five distinct views of individual icebergs off the coast of Newfoundland and Labrador, Canada. Two icebergs are included in the upper portion of the composition: at upper left, a nearby iceberg is shown with a sharp spire on top, while at upper right, a distance iceberg a more pyramidal form is visible. Along the long half, three icebergs become increasingly distanced from left to right. At lower center, an iceberg with a distinct semicircular or U-shaped contour is included. Each iceberg is shown atop a flat horizon line, inidcating the water's surface.
Design for a Frame
, late 18th century
Etching on paper
Album of frames

Design for an oval frame or medallion decorated with foliate branches, flowers, a lion's head mask (mascaron), and ribbons.
St. Paul in the Clouds with Angels and Palms
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown wash, on paper
Drawing

On verso: three studies of fourteenth century altars
Sidewall
, 1860–70
Machine-printed paper

Horizontal rectangle giving a complete width. Floral pattern of bleeding heart flowers and foliage, in yellow, orange and green, with secondary pattern of leaves in white, printed on brown ground.
firescreen
, ca. 1775
wood

A: Mahogany tripod stand with ball and claw feet and carved leaves on knees and lower part of stand; pole is topped with acorn ornament. Brass fittings hold embroidery frame in place. 
B: Nearly square panel of embroidery showing flowers and ribbons worked in colored silks on dark blue woollen ground.
English Gothic
M.H. Birge & Sons Co., 1834, ca. 1915
Machine printed on paper
Sidewall

Representing ornamental plaster form of decoration in English Gothic used in the first half of the 19th century. Composed of criss-crossing wide bands ornamented with leaves, flowers, nuts and fruits. Bands are edged with simulated moldings. A reproduction of an old wallpaper from the walls of the front entry of John Sible's house, Hancock Street, Salem, Massachusetts. It was put on walls in 1858. Printed on reverse side: "No. 295 CB". Printed in grisaille on pale gold field. Not original colors.
Fauteuil Orné de Sculpture
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation, plan, and profile of an armchair decorated with a striped textile with rosettes. The chair frame is decorated with ornament motifs including fish scale, garland, acanthus leaf, bead course, rosette, fluting, and wreath with laurel branches. The plate is signed and numbered.
Bag (tobacco pouch)
, 1821
cotton, glass beads, leather lining Technique: knitted in crossed stockingette stitch

Bag of beaded knitting with leather lining. Beads worked in triangular patterns at bottom; main field has floral garlands encircling the bag with inscription: Johann Tobias Marzius 1821.
Three Vase Designs
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

Three individual numbered plates with designs for vases. The central plate with an urn style vase - featuring mythological figures, festoons of flowers, masks, trophies of instruments, fluting, fleurons and foliate motifs - has the title and address lettered above. The left plate (numbered 1) is a design for an ewer with a winged putto as the handle, featuring masks, gadrooning, fleurons, scrolling foliage and rosettes. The right plate (numbered 3) is a design for an ewer with a female nude as the handle, featuring a soldier in a horse drawn chariot on the body, a mask, beading, rosettes, and scrolling foliate motifs.
Plan et Elévation d'une Armoire
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for an armoire decorated with ornament motifs including fluting, interlocked piastres, wave pattern, rosettes, and garlands. The plate is signed and numbered.
Two Girls with Sunbonnets In a Field
Winslow Homer, American, 1836–1910, 1878
Brush and oil paint on canvas
Painting

Against a background of patchy white clouds floating in a sun-filled early autumn sky above rolling meadows with distant light-yellow grazing sheep, two girls, one sitting, absorbed in reading a book, and another, younger, standing, facing the viewer, are depicted.
Competition Design for La Fenice, Venice: Exterior Elevation of Annex
D. Cerato, Italian, 1788
Pen and black ink, brush and gray wash, watercolor, graphite on paper
Drawing

Elevation drawing of the exterior of theater "annex" showing four portals and three stories, executed in tones of tan-rose and dark gray.
Border
, 1870–90
Machine-printed paper

Aesthetic or Anglo-Japanesque printed two across the width. Floral stripe design with bands of deep red flowers alternating with a triple stripe. Printed on an embossed metallic gold ground.
Study of a Young Boy
, ca. 1880
Pen and ink, graphite on rough paper
Drawing

Vertical rectangle. Study of a young boy sitting and holding an open book toward the spectator, shown from the front. The figure holds with his left hand a broad open book upon his legs and a branch in his raised right hand. The head is lowered. Some scratching.
Projet d'un Pont Trimphal a La Floire Immortel de Louis XVI
Louis Germain, French, b. 1733, 1775
Etching on paper
Print

A bridge with a triumphal arch, similar to a tempietto, seen through an arch in foreground. Several boats and figures.
Collar
, ca. 1860
cotton Technique: machine knitting

White round collar.
The coat of arms of a prelate
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Graphite, pen and ink, brush and blue-gray watercolor on paper
Drawing

The coat of arms is supported by tow flying genii. The charges are a fesse; some that possibly is a leaf or a hand, a ram's head or a bucranion in base. The genius at left blows a trumpet; the genius at right is in profile; she supports the escutcheon with both hands. Below are clouds with part of a third genius carrying something. At the lower edge remnants of "Del".
Study for The Fleece of Gideon, Plate 375, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown, black ink on cream laid paper
Drawing

A man stands inside an open-air, circular structure, with his arms raised in front of him and a fleece, or the woolly covering of what appears to be a sheep, at his feet. A mountainous landscape dotted with trees and buildings can be seen in the distance. The picture is bordered by an elaborate onamented frame consisting of natural forms, including wheat and leaves, as well as various tools, including nets and shovels.
Mountainous Landscape with Boulders, Mexico
Frederic Edwin Church, American, 1826–1900, February 22, 1890
Graphite on gray wove paper
Drawing

Landscape sketch from Mexico showing a view of a field with boulders in front of a rolling mountain range. In the foreground and middle distance, large, dark, and possibly volcanic boulders are strewn across relatively flat terrain with a few barren trees at center right. In the background, two undulating mountain ridges overlap at center, creating a rugged horizon. At right, a tall, rounded peak is visible.
Fragment
, 17th century
wool, linen Technique: plain weave with floats

Simple floral forms in orange and white reversible fabric.
Heurtoirs à une Branche
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for two doorknockers showing their front and profile views, and their rosette plates on either side. The knocker on the left has a pinecone finial at top, a vertical band of pilastre, a garland of flowers, and drapery at the bottom. The knocker on the right has a simple bead detail at the hinge, a vertical strand of acanthus leaf with bead detailing down the center, and a garland of flowers at the bottom. The plate is signed and numbered.
Two Frame Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Two circular frame (tondo) designs arranged horizontally on the page. The frame on the left has three bands of ornamentation, alternating with two simple, striated bands: at the back edge, egg and dart carving; in the center, oak leaf and acorn; and a bead course at the sight edge. The frame has a ribbon on top, and two ribbon-bound branches of leaves as the bottom. The frame at the right has leaf and dart molding at the back edge, a plane decorated with carved roses on branches, and lamb's tongue molding at the sight edge. The frame has an elaborate ribbon at the top, and scrolling acanthus leaves at the bottom. The plate is signed and numbered.
Design for a Reliquary
, 1750–1775
Black chalk, pen and ink, brush and watercolor on paper
Drawing

Elevation of an altar reliquary intended to be carved in wood. A niche with a volute pediment above two bishop busts and candlesticks.
Sidewall
, 1840s
Block-printed

Depicting scenes of the Crimean War. "Siege of Sebastopole". Picture of two sailing vessels passing in opposite directions through a channel between two forts. A town is on the left side. Large bodies of water at top and bottom. Scene is enclosed in an architectural frame of strapwork molding and cable or rope twist molding. Printed on natural color, very thin paper.
PLATS OVALE
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Three designs for oval serving dishes with Empire style motifs. The plates are displayed overlapping, each with a vignette or decoration in the center and decorative borders along the rims, featuring reeds, a hunting scene, arrows, and spears with crescent moons. The rims feature vignettes, sea creatures, birds, foliate branches, bows, and arrows. The plate is titled, signed, and numbered.
Graveyard
Francis Hopkinson Smith, American, 1838–1915, ca. 1878
Charcoal, brush and gouache, pastel crayon on paper
Drawing

View of a graveyard with a pond and church steeple in the background.
Design for the Letter J of a Pictoral Alphabet: Jupiter
Victor Vincent Adam, French, 1801 – 1866, ca. 1830
Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper
Drawing

Letter above, flanked by intertwining rinceau. Jupiter is seen seated on clouds holding a thunderbolt and mace; the eagle is beside him.
Projet de l'autel de St. Leu de Paris (Design for the Altar of St. Leu of Paris), plate 104, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

Windowed chapel; altar made up of several Corinthian columns and topped with putti and a cross. Stairs lead to altar where two figures gaze up, a male raising a cup and a female holding a tablet. Figures flank a heavily decorated cross above which float winged figures holding a lamp from which emanate rays.
COQUETIERS DE SERVICE
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Six designs for lidded egg cups with Empire style motifs including chickens, swans, eggs, bird nest, feathers, florets, palmettes, rosettes, fleurons, and foliate scrolls. The plate is titled, signed, and numbered.
Fragment
, 17th century
silk, linen Technique: 7&1 satin damask (8-harness satin damask) Label: Silk, linen satin damask

Border strip with a pattern of flowers showing the linen face of the satin and background of green silk.
Elévation et Profil d'une Commode enrichie de Marqueterie
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and profile of a design for a chest of drawers, richly decorated with ornament motifs including trophies with attributes of war, bound reed, garland with lion mask, and bucrania. The plate is signed and numbered.
Study of Tiger Lilies
Sophia L. Crownfield, American, 1862–1929, early 20th century
Pen and ink, graphite on tracing paper
Drawing

Vertical sheet depicting two stalks of tiger lilies, each with buds and one open blossom.
Skeins of yarn
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1910
linen

Six skeins of yarn in various shades of blue. Yarn purchased from a Scottish supplier and indigo-dyed by members of the Society.
Fragments
, late 17th–early 18th century
silk, metallic thread Technique: damassé foundation (8-harness satin plus 3/1 twill weave with continuous and discontuous supplementary wefts)

Four fragments of a continuous pattern of two curves placed side-by-side. Pattern is in two levels: one has a delicate linear element incorporating a balustrade and stairs with flowering vines, flowers and buds in gold and muted colors. The other, a broad floral urn in metallic thread has a deep shadow in cream damask.
Le château de Cartes
Louis-Marie Lanté, French, 1789–1871, 1810–1815
Engraving, brush and watercolor on paper
Print

Two little girls watch a house of cards being blown down by a boy. Below, title, artist's and engraver's names. At top: "Le Bon Genre, No. 108".
Vase
Louis Comfort Tiffany, American, 1848–1933, ca. 1899
Mold-blown favrile glass

Agate glass vase.  Olive and ochre with faceted sides.
Platter
, late 18th–early 19th century
porcelain, gilding

Double cavetto marly, with large solid band of gold and two foliate bands. Oval in shape, with oval medallion in centre, enclosing initials: PSS***
Edge
, 18th century
linen Technique: needle lace with ground of loop & twist with twist return

Burano-style lace worked with a design of three rows of widely-spaced buds above a vine border. Straight edge, Louis XVI style.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Black chalk. Pen, ink. brown ink, brown wash Paper

Pluto holds Proserpina in his arms, standing in his chariot. Its two horses are driven by a cupid, five of whom in all are accompanying the god. One carries his trident, two a fruit basket, one shot at the girl. Cupid and Venus are shown upon clouds in the right rear. Reverse: outlined oblong, pencil.
Fringe
, 17th century
silk, metallic thread (gold strips wound on a silk core) Technique: woven

Red and metallic gold fringe with a red woven heading and narrow looped fringe overlaid with gold threads forming fringe. Band of trellis pattern at the top of the skirt using gold threads, twisted and looped.
The Elevation of a Church
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

A doorway with a simple molding; Attached columns and pilasters of the Ionic order, on high socles, flank the door, and support a narrow entablature.
Fragment
, 13th century
bast fiber warp, cotton weft Technique: float weave

Small fragment of coarse material, said to have come from an abbey in France. Lozenge pattern formed by the manner in which twill is tied down. Warps are natural unbleached fibers, and wefts are coarsely spun.
Fragment
, 17th century
silk Technique: damasse (5-harness satin plus 1\4 twill)

Chasuble piece with medium-scale, close set diagonal repeat of stylized floral sprays. Alternate rows have small birds perched on flowers. One selvage continuous with field and ends in a bunch of warps.
Drawing
, 1650–75
Pen and brown ink

Vertical rectangle. The representation is framed by an oval frame hanging on a knot. The framed portrait is painted over the original design: an escutcheon with a cross upon triple mount. Squared with black crayon.
Pavilion with Bell Tower
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Elevation of a one story-pavilion with an arched entrance flanked by a pair of windows, set off by attached ionic columns supporting a simple entablature. At each end is a standing statue. Above each window is a Papal tiara above crossed keys. An attic over the entablature bears a clock beneath two sculpted seated figures. At top, two metal scrolls support three bells, an orb, a cross, and a weather vane (all to be executed in metal). At lower right is a groundplan for the supporting members.
Fragments
, 16th century
silk, metallic Technique: supplementary warp pile in a plain weave foundation (velvet) with metallic brocade

Three strips with a pomegranate motif. Red velvet with metallic brocading.
Veil
, 19th century
linen Technique: appliqué on net, bobbin lace

Detached sprays of bobbin lace with needlepoint centers (diamond filling) applied to machine-made net cut to form a veil of a long, oval shape.
Fragment
, 18th century
linen Technique: bobbin lace (Mechlin-style)

Design of ovals surrounded by conventionalized blossoms. Tiny quatrefoils scattered over upper ground. Mechlin ground and snowball ground.