biglam/cooper-hewitt-alt-text huggingface dataset:
Rocaille Fountain Design
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament, cartouches and vignettes of figures and rocaille motifs. A fantastical fountain, featuring C-scrolls, shell, and fluting motifs with a male mascaron, foliage and a shell and reeds in the background, a frieze with figures along the top of the fountain with a man and a woman standing on the top of the fountain, the woman pointing towards the fountain. The plate is numbered, signed and with an address.
Nevado de Toluca, Mexico
Frederic Edwin Church, American, 1826–1900, February 23, 1892
Graphite on beige wove paper
drawing

Landscape sketch showing a view of the mountain known as Nevado de Toluca near the city of Toluca, Mexico. A flat, grassy plain extends from the foreground through the middle distance, where it encounters foothills are left and right. Rising in the background, the rugged ridge and multiple sharp peaks of Nevado de Toluca loom over the scene. The highest summit rises at center right.
Fountain Design, from Dessins d'orfèvrerie (Designs for Metalwork)
Léonard Thiry, Flemish, 1550, 1540–1560
Engraving on laid paper
Print

Fontainebleau school. Design for a metalwork fountain, the top decorated with children with tridents sitting on sea shells. Below, scenes of Acteon and Diana from Ovid's Metamorphosis are interspaces with urinating putti. The base decorated with masks, garlands and alternating snails and turtles.
Coin Bank with Swan Finial
, 1829–1854
silver
bank

Coin bank with lobed body on ball feet. Lid with floral repousse work and chasing. Hinged finial with a cast swan. Keyhole at front center.
Stage Design, Interior of Gothic Chapel
Romolo Achille Liverani, Italian, 1809 - 1872, 1831
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Gothic polygonal chapel.
Portrait of Pius VI (1775-1799)
, 1790-1800
Engraving on paper
Print

Bust length portrait in side view to right. In an oval frame standing on a pedestal with inscription.
Plans, elevation, and section of the tower in Chiaravalle, Milanese, Italy
Whitney Warren Jr., American, 1864–1943, September 25, 1887
Graphite, brush and red and brown watercolor, on cream heavy wove paper
Drawing

Like all Beaux-Arts trained architects of his generation, Warren learned his art by sketching and painting, especially during his travels through Holland, northern France, Germany, and Italy. Though familiar with the key monuments of Europe, Warren seemed more interested in ordinary structures, and began building a visual library of details that would make up his visual vocabulary. To him, a foundation in drawing was essential for an architect. His drawings, such as this one of a bell tower, or campanile, in Chiaravalle, near Milan, Italy, expressed the experimental and romantic quality that would later appear in his works.
View Across the Hills and Plains of Arabah, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite, brush and white gouache on gray wove paper; verso: graphite
Drawing

Landscape sketch showing a view of hills, flat terrain, and mountains near the Plains of Arabah in present-day Israel. In the foreground, rocks and tufts of grass on visible on a nearby hilltop, while goats or other animals are visible on a hillside beyond it at center. A large, relatively flat plain extends across the middle distance to the Mountains of Edom stretching across the horizon in the background. One snow-capped peak is visible at upper left. 

Verso: Landscape sketch showing the first part of a panoramic view of the valleys of the Nahal Hatira and Nahal Yamin (known to Church as El Yemen Valley) in the present-day Makhteshim-Ein Yahav Nature Reserve in southern Israel. This description refers to the entire panoramic view, with 1917-4-174 as the second part. Craggy mountainsides at left and right frame a view of a deep canyon with steep walls that show eroded bands of rock strata throughout. One large prominence is visible at center, with a rolling mountain forming the horizon in the background.
Button
, late 18th century
Paper, metal foil, thread, pailettes

Folding envelope of paper with tie closure; used as a case for ten circular buttons.

On card 14
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, birds, baskets, a hat, spears, quiver of arrows, snake, mask, and flaming torches. The plate is numbered.
Mountains over the Königssee, Germany
Frederic Edwin Church, American, 1826–1900, July 1868
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of alpine mountains above the Königssee in Germany. The lake's placid water extends from the foreground to the middle distance, where it encounters the lake's steep shoreline, formed by a wooded mountainside at right. At center, a rugged mountain with craggy peaks and several washes and ridges is rendered in some detail.
Design for a Tureen
, early 19th century
Pen and ink, brush and wash on paper
Drawing

Elevation of a tureen with paw feet. Lower body decorated with leaves; upper body with a frieze of classical figures. Mask handles. Lid decorated with scales and a lobed finial.
Les plaisirs de l'Isle enchantée
, 1664
Etching and engraving. Black ink on rolled paper.
Print

In the foreground a banner decorated with shields and coats of arms.  At the top two winged figures hold up the royal coat of arms.  Beyond the Palace of Versailles.  All is framed by curtains and garlands.
Project for a Ostensory
Luigi Righetti, Italian, 1780 - 1819, 1807
Graphite, pen and ink, brush and wash on paper
Drawing

The shaft has the shape of a round pedestal below, which supports an urn, above which rises a baluster. The receptacle is surrounded by a glory of cherubim and rays. At top is a cross. Coloring suggests partial gilt.
Fragment
, 17th century
silk, metallic Technique: plain weave with supplementary wefts and decorative slashing

Brown silk with design of oval reticello-like shapes. Both selvages present. Fabric is slashed in a pattern.
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Green trimming fragment with a central band in squares of cut and uncut velvet.
Sewing machine
, mid-19th century
Silver
Miniature

Filigree miniature comprising sewing machine form on rectangular table top with decoration in three panels, on scrolled supports. The working parts consist of a treadle, crank, slotted arm, and needle.
2e. Fenêtre Corinthienne au dessus du Rez de Chausée ou belle Etage [et] Ie. Fenêtre Corinthienne au dessus du Rez de Chausée ou belle Etage
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevations and profiles of designs for two windows decorated according to the principles of the Corinthian order to be placed above the ground floor. The plate is signed and numbered.
Uncut samples for sample book
, 18th century
silk Technique: resist printed on ribbed plain weave

Roll composed of six sections of silk sewed end to end; one end pasted to paper on wooden roll, other pasted to paper serving as cover and bearing inscription.  Silk printed with 105 small-scale repeating patterns, largely in dot and lozenge designs, in white on a blue ground.  Patterns are in rectangles of various widths, arranged in five lengthwise bands.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Reclining fauh, facing right.
Projet de la chapelle de St. Sulpice de Paris (Design for the St. Sulpice Chapel of Paris), plate 101, 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

A chapel flanked by Corinthian columns, then fluted pilasters and then panels decorated with shells and illustrations. Stairs lead up to a tomb at center which two putti cover with a cloth; Virgin appears in robes with sun rays behind her; she gazes down toward the tomb, surrounded by putti and other figures. Above, putto holding up a crown of stars. Cupola depicts shells, putti and starts in cartouches.
Arabesque Panel Design
Gilles Paul Cauvet, French, 1731–1788, 1777
Etching on paper
Print

Design for arabesque ornamented panel with Venus and Amo standing atop a globe.
Grille, probably from the series "Héré Plans et Elevations de la Place Royale De Nancy... 1753 A Paris Chéz J.C. François
Jean Lamour, French, 1698–1771, 1753
Etching on paper
Print

Crowning ornamental portion of a gate, giving left and central motifs. At left, classical head in oval medallion against obelisk with banners; in center, cartouche with French Royal arms.
Plan du Château et Jardin Royal de Luneville.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan for Royal Castle and Garden at Lunéville. In lower right is a rocaille cartouche with a numbered key and scale bar to the map.
The Seasons Bring Gifts to Ceres and Triptolemus
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink, brush and brown wash over traces of graphite on light brown paper and secondary support
Drawing

Ceres and Triptolemus shown entroned upon platform. Seasons kneel or come at left. At right, sketch in margin showing part of throne and platform and Ceres and Triptolemus, who holds cornucopia.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined blue laid paper
Drawing

Sketches of men seated and standing in groups. Upper right section of page blank. Verso: A plan for the perspective of the picture with figures.
Design for a Woven or Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805-1815
Brush and gouache on glazed tracing paper
Drawing

Crest border over a strip; it shows lead palmettes which are flanked by blossoms alternating with stylized palmettes.
Décorations de Lambris pour des Chambres à cheminées avec portes à placard
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Split design for an interior with a fireplace at the center. The room is decorated with overdoor panels of a vase with garland and branches (left) and a scene of winged putti (right). The doors feature decorative motifs including fluting, rosettes, egg and dart, scroll brackets with acanthus and pinecones, and lamb tongue. The fireplace features motifs including fluting, acanthus leaves, rosettes, floral garland, bead course, egg and dart, and a lyre. The plate is signed.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including mythological and religious figural statues, putti, and ceiling details. Both plates are numbered, neither are signed.
Three Putti
François Boucher, French, 1703–1770, 1738–49
Etching on laid paper
Print

Three putti in a landscape. One sits on a rock, leaning on a quiver of arrows next to two birds. Two other putti flying to the right, the one above holds a ring with a bird perched on it. The plate is signed.
L'EUROPE
Jean Lattré, French, ca. 1722 – 1791, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Design for a hand fan with a map of Europe framed within an upside-down pear-shaped rococo border ornamented with flowers, acanthus leaves, c-scrolls, and ribbons. The plate is titled and addressed.
Drawing
George E Germer, 1868 – 1936, 1910–1915
Pencil. Brown paper

Each shows the teapot with the handle at right, on top, the cream pot with the
handle at left, bottom left, the two-handled and covered sugar bowl, bottom
right. The handles of the cream pots and augar bowls are forked on top.
Reverse: blackened for tracing. The knobs of the covers are shaped like urns.
Rough sketch of a pendant(?) top right. Marked, ink,"#38.• Written, bottom
left: "Tracing, "pencil
Button
, 1830–48
Pewter,copper

On card i
Six Sketches for Tablet Frames
Carlo Marchionni, Italian, 1702–1786, 1740–58
Pen and sepia ink, graphite on laid paper
Drawing

Two frames with coat-of-arms of Pope Benedict XIV (1740-58). One of the frames is drawn partly above three of the other ones. Small and slight sketch of a lunette above pillars, probably for a frame.
Veüe Generale en Perspective du Chasteau Basse-court, Anti cours, Jardins, & de Richelieu
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's-eye view of the chateau of Richelieu with its courtyards, gates, pavilions, and buildings in the foreground. Formal gardens with parterre planting beyond the chateau. Trees surrounding the formal gardens. Figures throughout the grounds. Details are numbered with a key lettered below. The plate is titled and signed.
Alpine Landscape
Frederic Edwin Church, American, 1826–1900, June–September 1868
Brush and oil paint, graphite on cardboard
Drawing

Landscape sketch showing a view of the rolling, mountainous landscape in the alps of Bavaria, Austria, or Switzerland. A gently sloping, grassy hill fills the foreground as it ascends slightly to the right. In the middle distance, a purplish-gray hillside covered in conifer trees descends across the composition from center left to right. In the background, an immense, sharp mountain range is partially obscured by low-lying clouds, which are illuminated in a yellow-orange glow by the sun behind them. Loose brushstroke suggests a tumultuous sky.
Andiron (Firedog) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for an andiron (firedog) in the form of a flaming torch flanked by griffins, with scrolling leaves (rinceaux) fluting, rosettes, gadrooning, and festoons of leaves. The plate is numbered and signed.
Woman
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Sketch of a female figure.
Landscape Sketch, Mount Desert, Maine
Daniel Huntington, American, 1816–1906, August 19, 1856
Black and white crayon, graphite on grey-brown paper
Drawing

Pond in foreground and shore, right. Mountain beyond. Notation below with date.
Doorway
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of an arched doorway with vines.
Fayencerie, Ouvrages
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate with nine designs for objects made of faience or earthenware pottery. The objects include teacups, cups, bowls, ewers, and a wine fountain. The designs are highly decorated with figures, and grotesque and rococo motifs. Each object is numbered and lettered. The plate is titled, numbered, and signed.
Sampler
Ann Quigly, American, 1814
silk embroidery on linen foundation Technique: embroidered in cross and satin stitches on plain weave foundation

An verse embroidered in black and enclosed in a black octagonal frame, surrounded by a deep border of flowering vines tied with a ribbon, embroidered in pale greens and browns. 
The verse reads: 
Acrostic
Amidst my learning and my care
Nothing can equal God most dear
Nor ought with him my heart to share
Quick as my fingers move this thread
Under just rules do act with speed
In wisdom paths still may I tread
Giving to virtue constant heed
Love to be good and therefore wise
Youth finds in these the greatest prize
Designs for Rocaille Motifs
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off-white paper
Print

Sheet filled with designs for rocaille motifs of small scrolls and rinceaux. The plate is signed and numbered.
Chambre à Coucher
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a bedroom (above) and for panels (below), decorated with ornament motifs including lozenge, bead, urns, branches, acanthus leaves, and drapery. The plate is signed and numbered.
Textile
, 12th–13th century
silk, gilded parchment on silk core, board, gouache Technique: weft-faced compound plain weave (taquete) Label: silk and gilded parchment on silk core weft-faced compound plain weave (taquete)

Incomplete roundel and a portion of the frame of a tangent roundel, the former containing a pair of confronted sphinxes flanking a plant form, each are being attacked by a much smaller lion. With a wide frame of interlacing foliated scrolls within pearl guard borders, in which pearl centers (due to demands of technique) are rendered tiny crosses. Very incomplete portions of interspaced ornament showing peacock tails. Red and green on a cream ground, with small amounts of gold metallic (cream silk wound with gilded goldbeaters' skin) on faces of sphinxes and small lions. Mounted on board with design painted in with gouache.
Elevation of an Alcove
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Elevation of a tent with three openings. The supports are connected by three ogee arches with plumes of feathers above the points. The upper edge is horizontally curved.
Decorative door boss and nail
, ca. 1550–1700
Steel-plated wrought iron

Flat, square mount with square molded element rising at center and paired radiating lines. Each quadrant of design has a projecting cusp and four barbs forming a leaf-like pattern. Grooved nail heads on a square shank.
Head of an Old Man
Robert Dighton, British, ca. 1752 - 1814, ca. 1780–1805
Engraving in brown ink on paper
Print

The man faces left, iwth his right arm outstretched. He has a large beard and masses of curly hair.
Dessein des grandes Grilles posées sur la Place Royale de Nancy en 1755 par ordre de S.M. le Roy de Pologne
Jean Lamour, French, 1698–1771, 1767–68
Engraving and etching on laid paper
Print

Foldout print pasted together from four sheets, depicting the large rococo ornamental wrought-iron gates from the Place Royale at Nancy. A large central arch, flanked by two smaller arches. The top of the central arch is decorated with the French Royal coat of arms and two portrait ovals with military trophies, below, a mascaron of Apollo with sun rays. The arch is supported by Corinthian pilasters decorated with military trophies and rococo ornament. The two smaller arches are topped with wrought ironwork designed with rococo ornament and motifs and interlaced L's. Within the cental arch is a large sculpted fountain with the figure of Neptune, a horse, dolphin, putto and nude female and male figures, on a shell with rockwork, fauna, a snake, and shells below. Below the two smaller arches are fountains sculpted with putti and birds. The title is lettered below and the plate is signed.
Grande Corniche d'Appartement.
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Design for an apartment cornice, with bands of ornamentation including: acanthus leaves, lamb tongue, coffering, egg and dart, bead band, scrolling acanthus leaves, and bead and bar band. The profile of the cornice is provided on the right side of the plate. The plate is signed and numbered.
Two Partial Anatomical Studies
Daniel Huntington, American, 1816–1906, ca. 1850
Graphite on green wove paper
Drawing

At top, legs of a man walking, from the rear. Drapery sketched about his hips. Below, oriented differently, back and right arm of a man holding a scimitar.
Portrait of Oppenord
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Architectural cartouche with an oval portrait medallion of Gilles-Marie Oppenord. At the top of the oval is an eagle with a laurel wreath in its mouth, and a scepter and a horn in its claws. The sides of the frame have scrolls and mascarons, as well as putti with attributes of the arts. At the bottom of the oval is a winged mascaron with garland; below this is a frame for the title. The plate is signed. A version of this plate before lettering, and before the portrait of Oppenord, is included in the album (1921-6-216-5)
Study of Chestnut Tree Branches
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, gouache on brown wove paper
Drawing

Horizontal sheet depicting two chestnut branches with leaves and blossoms. On verso, a single chestnut branch with blossoms.
Rooster
Arnold Print Works, North Adams, MA, USA, 1892
cotton Technique: printed by engraved roller on plain weave
Textile

Printed panel, entitled "Rooster" with two side views and a bottom piece for a rooster in profile, meant to be cut and sewn into a stuffed toy. Sewing instructions are printed on the upper left corner. "Arnold Print Works, North Adams, MA" is printed on the upper right corner.
Tile
, 18th century
Glazed earthenware

Square tile, surface painted with underglaze manganese purple in swirled pattern. Clear glaze (kwaart) over tin glaze.
Textile
, late 17th–early 18th century
silk, metallic yarns Technique: Damask weave fragment with discontinuous supplementary weft patterning (brocaded)

Fragment composed of many pieces sewn together. Light blue damask weave silk brocaded with metallic yarns showing design of fruits and florals with long curving stems in the ‘bizarre' style.
Tea caddy
David Hennell, 1800
Silver

George III Tea Caddy: London 1800
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a: rust color ground with gold color pattern
b: pink ground with white pattern
Vase Design
Charles Dupuis, French, active 1760 – 1791, ca. 1763
Etching on paper
Print

Design for a lidded vase decorated with bucrania (ox skulls), a festoon of leaves, interlinked rings, and a band of fluting. The plate is numbered.
Tool
, ca. 1870
Wood, steel, brass

Dispay board (accessory 1) reads, "Wood Engraving Tools, Gravers used by DeWitt C. Hitchcock, (1824 - 1879), Given by D. C. Judson." One wooden-handled steel engraving tool of blade-like shape, with the ends cut at an angle along the edge to a point. Numbered VII on handle.
Valance
, late 18th century
cotton, wool Technique: chain stitch embroidery on plain weave

Textile cut and pieced to form a valence with deep rounded scallops. Branches interlace to form a rounded lattice design, each ogive framing a small naturalistic spray of roses, forget-me-nots, carnations, etc. Colors are bright and with many variations of blue, green, yellow, pink and violet on an off-white ground.
Apron
, early 18th century
silk on silk foundation, metal-wrapped silk, flat metallic strips, flat metallic strips plied with metal-wrapped silk Technique: stem, satin and three variations of padded couching stitches on float patterned plain weave; bobbin lace

Cream white apron embroidered in colored silks and gold and silver thread. Design shows three offset rows of heavy rose buds with curving stems and leaves. Between each rose bud is a heavy drooping leaf in gold thread. Apron has five scallops along the bottom and is trimmed on three sides with metallic bobbin lace. A narrow piece of bobbin lace is at the top. Apron has a yoke of plain silk and drawstring.
Parade of Louis XIV on the Pont Neuf, Paris
Johann van Huchtenburgh, 1646 - 1733, ca. 1670-1680
Engraving on paper
Print

One of three plates joined vertically. Scene shows a large crowd witnessing Louis XIV crossing the Pont Neuf with his entourage. In the background appears the palace of the Louvre.
Chalice cover
, 16th–early 17th century
silk, metal Technique: embroidered

Conical-shaped cover for a chalice made in four sections. Red velvet, embroidered in gold in a stylized plant design. Fringe and tassels of silk and gold. Lined with green silk.
Design for a Decorative Lunette
John La Farge, American, 1835–1910, 1890–1900
Graphite and watercolor on paper
Drawing

Half-circular design of a Renaissance decoration including a blank escutcheon within a triple-arched architectural enframement. Frame of stylized leaf repeat.
Textile
, 18th century
silk Technique: warp printed plain weave

Panels from a skirt made of lightweight taffeta with chiné warp producing Louis XV design of vertical bands, each containing large serpentining floral band with small floral form dropping from each outward curve below, and each set off by guard bands. Greens, yellows, corals, brown, mauve on an undyed ground.