biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 13th–15th century
silk Technique: plain compound weave

Fragment of a garment in blue silk with narrow and broad stripes in tan with minute geometric figures.
Border
, 1860
Block-printed, flocked

Two portions of an architrave; yellow and gray with green, red and brown flock.
Bell pull
, 19th century
silk, wool, and metal thread on linen canvas, brass handle, cotton plain cloth Technique: counted stitch embroidery

Bell pull made of canvas with embroidery, arranged as cross borders, in floral and geometric designs (one with initials "A. W." and date "1752"); brass handle at either end, pierced in design of Chinese type.  Embroidery in canvas stitches.  Bell pull is backed with yellow cotton plain cloth.
Designs for Friezes
Jean Le Pautre, French, 1618–1682, 1640–82
Engraving on white laid paper
Print

Two registers depict classical figures in hunting scenes; above, figures hunt a wild boar; below, they hunt a stag. In both, there are men with spears, dogs, trees, and sense of agitated movement throughout.
View of Moat Mountain from Wildcat Brook, Jackson, New Hampshire, Looking Southwest
Daniel Huntington, American, 1816–1906, September 11, 1854
Graphite, white chalk, black crayon on cream wove paper
Drawing

Brook with rocks and low trees in foreground. Mountains in distance, center.
Lower end of staircase railing
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

From a calyx similar to that in -1948 a garland drags downward to the scrolls of a half figure with bat wings, which is shown in profile. Colored background.
Design for a Brooch
, 1850–75
Pen and ink, brush and sepia on paper
Drawing

Row of three big oval diamonds, framed by leaves and fruits. Recto: accounting.
Drawing
Felice Giani, Italian, 1758–1823, 
Brush and wash, pen and ink on paper

Recto: Sketch of a couple sitting, embraced while the female leans in for a kiss.  At left a sketch of a figure with wings holding a lyre.  At the bottom right a drawing of a cupid.
Verso:  Eight drawings of female figures floating with drapery.
Trimming
, early 19th century
White, black and colored silk in uncut velvet weave.

Two shields, one showing three birds below five stars, and the other, a lion and red and yellow strips; crown above shields; ornaments between.  Red, yellow, blue, and black on white ground.
Landscape
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Sketch of a landscape with windmills along the horizon.
The Last Judgment
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1580–1605
Recto: Pen and ink, brush and brown wash over black chalk on laid paper Verso: Pen and brown ink on laid paper
Drawing

Recto: An open tomb appears in the foreground with Christ above, in a blaze of light, flanked by the Virgin and St. John. Many figures in the background below, with the damned at left and the saved being greeted by angels at right.
Verso:  Latin inscription from Virgil's Georgics, followed by two lines translating the text into Italian.
Reflections on the Königssee, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - July 1868
Graphite on gray wove paper
Drawing

Landscape sketch showing two views of steep mountainsides along the Königssee in Bavaria, present day Germany, and their reflections on the lake's placid waters below. The upper view, covering the majority of the leaf, shows a wooded slope diagonally descending into the water, with two rugged alpine peaks in the background. Below, a loosely-rendered mountainside is mirrored on the water's surface, creating an asymmetrical diamond shape.

Verso: Loosely rendered landscape sketch showing a view of a vibrant sunset above three overlapping, serrated mountain ridges. Puffy clouds hang just above their sharp peaks, with a variously-lit sky behind.
Design for a Necklace
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for a necklace. The chain consists of entwined scrolls, each having a knot at its thinner middle part. The ends of the scrolls are forming compartments filled by disks. Hanging from a rosette with a knot below is a pavilion with five fringes. Bevelled corners.
Erythean Sibyl from the Ceiling of the Sistine Chapel, after Michelangelo
Michelangelo Buonarroti, Italian, 1475–1564, mid-16th century
Black crayon, pen and ink, brush and bistre on paper
Drawing

Vertical rectangle showing seated female figure with book.
The raised forearm of a woman
, ca. 1750
Black and red crayon with white heightenings on brown paper
Drawing

Vertical composition of a woman's raised forearm. The sleeves cover the majority of the upper arm and the fingers are bent.
Male nude
, late 17th century
Black chalk on gray laid paper
Drawing

Right side view of male nude kneeling on right knee.
Title Page
François de Cuvilliés the younger, German, 1731 - 1777, 1745
Black ink and graphite on off-white laid paper
Print

Drawn title page (not original) for miscellaneous volume with prints after François II de Cuvillès. Rocaille design borders text, which reads: 3e.. Recueil/OEUVRES/de FRANÇOIS De CUVILLIÈS/Père et Fils/ARCHITECTES/de/S.A.S.E. de BAVIÈRE/et de/COLOGNE/1er.. Volume. Volume itself in modern, half leather binding with marbled borads, on the spine: OEUVRES DE CUVILLIÈS/PÈRE ET FILS/3E RECUEIL/1R VOLUME. The volume is 45 cm by 31.2cm. The volume was rebound in 1974.
Design for a Sacred Vase
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on paper
Print

Incensor.
Cherubs Around a Cave
Gravelot, French, 1699 - 1773, active in England, 1758
Etching on paper
Print

Two cherubs embrace each other over a cave, in hich a boy is held prisoner.
Study for a seated woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite on paper
Drawing

A female figure seated with right leg bent.
Design with Two Figures in a Garden
François de Cuvilliés the younger, German, 1731 - 1777, 18th century
Etching and engraving on off-white laid paper
Print

Scene of two partially clothed figures--a man standing with a staff, a woman seated--in a garden landscape next to a fountain.
Design for Door Frame
Carlo Marchionni, Italian, 1702–1786, 1730–60
Pen and black ink, brush and gray wash, graphite on cream laid paper
Drawing

A tablet with a dove holding a twig in its beak is above in the center of the frame of the opening. A circular pediment is on top; a bracket with a fleur-de-lys is in the middle of the field. Scale below.
Harbor Scene
Jan Griffier I, Dutch, active England, 1645 - 1718, ca. 1700
Pen and sepia washes on paper
Drawing

A harbor scene, with many small sailboats in foreground. Buildings to left and right. Mountains in distance. On verso: unfinished drawing, perspective view of building set in a park.
Design for an Altar
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Design for an altar set within a niche with fluted columns topped by Corinthian capitals on either side. The altar is topped with large candlesticks. Within the niche is a painting of Christ on the cross. The plate is signed and numbered.
Three Designs for the Elevation of a Sepulchral Monument
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At left: A couped obelisk rises from a sarcophagus which stands upon a circular pedestal, surrounded by a band with relief figures. Center: A couped obelisk rises from a sarcophagus which is supported by two crouching lions. At right animals crouch radially upon a circular pedestal with a relief band. An urn rises in the center. Intended, as evidently others tho, to stand at the corners of a platform, the wall being shown. Colored background.
Brisé fan
, 1840–60
Carved and pierced ivory sticks, silk ribbon

Brisé fan of carved ivory held with gold silk ribbon. Carved in lace-like fashion with houses, boats, figures. Guards similarly carved in very high relief.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs. On the left, the cartouche has crowned mascarons; on the right, the cartouche is surrounded by strapwork and is settled on some leaves. The plates are signed and numbered.
Design for a Candlestick, Cup, and Vase
Jean-Charles Delafosse, French, 1734 – 1789, 1770
Pen and black ink, brush and wash on white laid paper
Drawing

Objects to be executed in gold or silver. At left: candlestick showing mermaid holding a socket. Her entwined fish body forms the stand. Center: a cup with handles formed by snakes above lion masks, body decorated with acanthus leaf design. At right: a fluted vase decorated with drapery festoons and two masks.
Sun God Being Dragged Into Sky and Preceded By Aurora
Felice Giani, Italian, 1758–1823, ca. 1815
Pen and ink on paper
Drawing

Design for a fresco vault of an octagonal room known as the Temple Of Apollo on the main floor of the Palazzo Milzetti in 
Faenza, Emilia-Romagna, Italy.
LA PEINTURE
Jean-Charles Delafosse, French, 1734 – 1789, 1772–77
Crayon-manner etching in red ink on laid paper
Print

Design for an ornamental hanging trophy featuring objects associated with painting and the arts. The objects include ribbons, flowers, laurel leaves, graphite, rulers, sheets of paper with drawings or prints, a female bust, vase, palette with paintbrushes, portfolio, and an easel. The plate is titled, numbered, and signed.
Button
, late 19th century
brass

circular button; two shields with coats of arms, ribbon, draped over bar, with"Fides" on it; lion supporters, crown - brass shank.

On card H
Sidewall
Defosse et Karth, 1820–35
Block-printed on handmade paper

Horizontal rectangle. Design of palmettes, vines and scrolls. Irise or rainbow insets in the shape of leaves. Printed in yellow-orange and turquoise, on paler neutral yellow-orange ground.
Trimming
, early 19th century
White and colored silk in voided velvet weave.

A shield under a plumed helmet with armorial devices in gray, yellow, green, red, and blue on white ground.
Design for a Fountain
Gilles-Marie Oppenord, French, 1672–1742, ca. 1710
Pen and brown ink on paper
Drawing

Left half of fountain at edge of stream (at left) with bridge and tower in the distance.  Central section of fountain with shell as basin into which water pours from a mask in the upper part and from jar held by a mermaid who kneels on a pedestal.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two plates of cartouche designs. The plate on the left also serves as the title page of the series, with the text inscribed in the center of the cartouche with a trumpeting angel and winged putto.The cartouche on the right is flanked by lions. Both plates are signed and numbered.
Elevation of a Tomb
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of a tomb topped by candles. The tomb is elevated on steps and surrounded by columns with Corinthian capitals. The capitals support a baldachin carved with angels, scrolls, acanthus leaves, and a dove at its center. Through the columns can be seen painted battle scenes. The plate is signed and numbered.
Cap streamers
, 18th century
linen Technique: bobbin lace, Mechlin style

Mechlin lace with diagonally placed bands of openwork with flowering sprays. Seam at center shows that two pieces have been joined to form one strip with rounded ends.
A covered dish for ice cream of porcelain
, 1775–1800
Black chalk, brush and various water colors on light cream paper
Drawing

Vertical composition with three parts of a porcelain ice cream dish. On the bottom, the bowl is shown in profile with floral decorations, two handles on the side and knobs at the base. The middle section shows the part of the bowl where ice cream is put. At the top, the cover of the ice cream dish is shown with floral decorations. The decorations are similar to 1901-39-5292.
Clouds over Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, probably 1850
Oil on cardboard
Drawing

Landscape and atmosphere sketch showing a view of clouds over hilly terrain on Mt. Desert Island in Maine. A rolling ridge is rendered in dark bluish-purple at lower right and gives way to the lateritious (brick-colored) ground color along the remainder of the lower margin. Just above it at left, a billowing cloud bank with three peaks is touched on its right by the sun's bright light. Other bands of wispy clouds stretch horizontally across the sky as they catch the warm, creamy-orange light of the setting sun. The sky is otherwise open and dark blue.
Design for a Mausoleum or a Kaffeehaus
Giuseppe Barberi, Italian, 1746–1809, 1788-1789
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Most of the sketches deal with the central structure. Its general shape is now influnced by the Pantheon with lateral wings. In the central design, the elevation is shown. It was first drawn with four low oblique wings, flanking the stairways to the proticoes and having domes over their front parts. Then the motif has changed into wings of a greater height without domes. Most designs deal with lateral wings situated in teh same horizontal plane as teh central building. the elevation with the flanking pyramids is shown in teh cetner top, tht of a bay of the colonnades beside the main design. Colored background.
Twilight in the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, July 1870
Oil and graphite on tan paperboard
drawing

Landscape sketch showing a view of twilight in the Hudson River Valley, looking northwest from a point on or near the artist's property in Hudson, New York. In the foreground, a treetop encroaches into the scene at lower right. The middle distance is a loosely rendered expanse of dark, rolling terrain that extends to the rugged Catskill Escarpment, visible in the background at left. The sun has just sunk below the mountain ridge and illuminates the sky and clouds in hues of gold, orange, pink, and red. The sky itself is a gradient from deep blue-green to bright pink-red.
Decorative door boss and nail
, 15th century
Wrought iron

Hemispherical boss divided into eight triangular sections by parallel lines. Rounded nail head with single line indented across top above a serrated circling band. On square shank.
Tiger skin rug
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a tiger skin rug with detail of paw.
Button
, late 18th century
Stoneware

1925-2-34-a,b: Two rectangular mounts in the style of Wedgwood Ja...
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a seated buddha with crossed legs.
Fragment
, ca. 1811
cotton Technique: printed on plain weave

Irregularly shaped fragment shows a kneeling boy and girl. A small dog has the hem of the girl's dress in its mouth and is pulling it. The scene has a low stone wall with two stone columns and vegetation. In red on white.
Bust Portrait of a Young Woman
Jeanne Dabos, French, 1763 – 1842, 1781
Graphite, pen and ink on paper
Drawing

Shown in profile turned toward left. Verso: Forepart of the profile of the same woman.
Le Parterre des Grenoüilles à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. Bird's-eye views of French gardens. The upper plate illustrates a fountain within a round basin with potted trees, topiary, parterre planting, hedges, and figures throughout with a larger basin or water feature to the right. The lower plate illustrates parterre planting, avenues, trees, fountains, and cascading fountains in the gardens of Beauvais with figures throughout. The plates are titled.
Title page, from "A New Book of Chinese Ornaments"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1750
Etching on paper
Print

Chinoiserie escutcheon in which a man leaning over a crescent and a monkey hold a banner with the title over a pagoda.
Design for a Ceiling Decoration
Giuseppe Maria Rolli, Italian, 1645 - 1727, 1690–1720
Black chalk, pen and ink, brush and watercolor on paper
Drawing

An imaginary frieze in which escutcheon are to alternate with brackets and a projecting entablature are shown obliquely from beneath. A bracket with a mask and a double top is flanked by a right half of a scrollwork escutcheon with a child's head, and by the left half of an escutcheon showing a cornucopia, at right.
Design, Variation of the Sculptured Coat of Arms seen in 1938-88-8222
, 1580–1600
Black chalk, pen and ink, brush and grayish brown wash on paper; Verso: pen and ink
Drawing

The charges and the motto are not shown. The manteling is reduced and details altered. The frame shows a laurel wreath. The design of the escutcheon has been transferred by pricking from one side to the other. Verso: two designs are begun.
Girl
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a young female figure wearing a hat.
Botanical Sketch of Ferns, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper
Drawing

Botanical sketch showing a views of a large fern at Flamstead, the estate of Jamaica's then-governor, Edward John Eyre. The fern is visible at center with two details of its leaves at right, which arch downwards.
Woods with a Sleeping Man
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1850
Pen and ink on paper
Drawing

The man lies with his chest downwards at a hillside. The signature Chles Ransonnette is written below.
Elevation of a Salon
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, ca. 1720–1750
Engraving on paper
Print

Façade for door of salon.
Design for an Urn
Giuseppe Barberi, Italian, 1746–1809, 1775–1800
Graphite, pen and black ink, brush and gray wash on paper
Drawing

Elevation of an urn decorated with bucranium, swags and gadrooning at lower half.
Frieze Designs
Jean Le Pautre, French, 1618–1682, 1655–82
Etching on laid paper
Print

A large frieze design above with three smaller fragments below featuring putti, scrolling leaves (rinceaux), foliate branches, rosette, shell, and a cartouche. The publisher's address is lettered below.
Embroidered picture
, 1832
linen and colored glass beads Technique: embroidery and beadwork

Panel of linen where colored beads have been sewn to form with St. Peter, floral border, and words "Maria Battifora fece 1832"
Trimming
, 19th century
silk Technique: cut and uncut supplementary warp pile in a satin foundation (velvet)

Yellow trimming fragment in a design of a scrolling stem with acorns.
Study of an Arm for "Tribute Money"
Daniel Huntington, American, 1816–1906, 1852
Graphite, black crayon, white chalk on buff wove paper
Drawing

Page fragment. Study of a man's right forearm, after a nude model. The arm raised, holding a stick. Part of the upper arm and the side of the torso shown.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates. The left plate features an architectural cartouche with the title printed in the center. The right plate is full of grotesque creatures, two holding cartouches, set in a landscape. Both plates are numbered; the right plate is signed.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The ground storey has five, the upper storey three bays. An arcade with four Corinthian columns is in front of the ground storey, a terrace in front of the upper one. Steps lead up to the arcade which is flanked by the ground stories of the steeples. They are three storied, the upper most ones being shaped like circular pavilions. The roofs are not shown. Colored background.
Design for an Oil Lamp
, early 19th century
Pen and ink, brush and gray watercolor, graphite on light cream paper
Drawing

Vertical rectangle. Design for an oil-burning lamp. The lamp is a covered bowl, standing upon a pedestal. A band surrounds its upper part, showing three ram heads fastened to it, above which the fires burn. A half-circular eyeshade is fastened by an arch to a pomegranate on top of the bowl. The upper part of the pedestal is shaped like the cover of a sarcophagus, with heads at the corners. In the panel of the front of the pedestal are two butterflies in a wreath. At the upper right edge are remnants of a framing ink line.
Sidewall
, 1820–30
Block-printed on handmade paper

Horizontal rectangle, with four parallel bands set with open octagonal figures, joined with notched red stripes.
Plate 15, from Diverses pièces de serruriers (Various Designs for Locksmiths)
Hugues Brisville, French, active ca. 1663, after 1662
Engraving on laid paper
Print

At top, a horizontal design for a railing with fleurs-des-lys. Below, a diagonal design for a railing with fleurs-des-lys and two rinceaux.
Ring, Cane Handles and Seal Designs
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Within a double-lined frame, in the upper plate two cane handle designs, ornamented with fluting, garlands of flowers, and laurel leaves, bands, ribbons, ‘rocaille' scrolls. The left cane handle is topped with a rosette and shell motifs and the right cane handle with a bird, flowers, and ‘rocaille' scrolls. Between the two cane handles, a design a ring, possibly with an intaglio engraving depicting figures within a landscape. Below the ring another cane handle decorated with ‘rocaille' scrolls, shell, flowers, birds, fleurons, cartouches, and scale motifs. Left of cane handle, a flat seal with a thin handle, with a hoop at the top, decorated with ‘rocaille' scrolls and gadrooning. Right of the cane handle, a seal fob decorated with a star, ribbon, ‘rocaille' scrolls and fleurons. The plate is numbered, signed, and dated.
Guéridon propre à porter des torchères
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pedestal for a two-arm candelabra, decorated with ornament motifs including anguipeds, fluting, bound leaf, lamb tongue, and garland. The plate is signed.
Textile
Cheney Brothers, South Manchester, Connecticut, USA, 1915
silk Technique: compound satin weave

Reproduction textile with an adapted design from a sixteenth century textile. Pattern has interlacing bands forming ogives that frame a central pomegranate and surrounding pomegranate buds.
Candlestick
, early 1800s
lignum vitae or yew, turned

The candlesticks are of baluster form. The stems and nozzles are formed of a single piece of wood, turned with a broad circular lip, tapered and curved socket, knop molding and globular lower stem. Each is joined to a separately turned base of high-stepped profile.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. green warp and gold color weft
b. rust color ground and gold color weft
Griselda
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1784
Stipple engraving and etching in sanguine ink on paper
Print

A young girl, holding a distaff, is seated under a tree, turned toward left, her head shown full-face, looking toward the spectator, the eyes turned upward. Sheep in distance, left.
LA PELLERINE ALTERÉE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with a man and woman pilgrim seated in a landscape above a fountain with mascaron and anguipeds. The plate is signed.
Cathedral Bays in Connection with Small Chapels, St. Patrick's Cathedral
Charles T. Mathews, June 1906
Pen and black ink on tracing linen
Drawing

Two interior elevations. Both bays have niches in center of wall and door at floor level. Scale ¼" to 1". Designs for two cathedral bays; labeled under left bay: NORTHERN-BAY; under right bay: SOUTHERN-BAY.
Study of a Bust of a Child (from a plaster cast)
Leon Dabo, American, 1868–1960, 1881–92
Charcoal on paper
Drawing

Head of child turned three-quarters left, gaze directed to the right, downward. Bust cut off at arms.