biglam/cooper-hewitt-alt-text huggingface dataset:
Study of the Upper Part of a Man's Left Arm
, 17th century
Red chalk on light brown laid paper.
Drawing

Vertical rectangle. Seen in profile, the right arm of a man shown from wrist to shoulder, with rolled up sleeve.
Design for a Cartouche with Three Figures and a Parasol
Alexis Peyrotte, French, 1699–1769, 1738–49
Etching on paper
Print

Design for a cartouche with chinoiserie style motifs, formed by scrolling and undulating acanthus leaves, festoons of leaves and flowers, feathers, shell motif, a parasol, and an architectural base. A few trees in the background and rocks in the foreground. Three seated figures. The figure to the left, holds up a bird perched on his hand, the figure to the right is seated on a plinth, wearing a hat, next to him a figure with an animal head (possibly a monkey head) and legs with a male torso and arms. The plate is signed and numbered.
Textile
, 19th century
piña (pineapple) fiber, silk Technique: plain weave

Sheer white pineapple fiber with a fine check of yellow silk.
Flowers
Jean Mariette, French, 1660–1742, ca. 1750
Engraving on paper
bound print

Flowers, from bound album
Chandeliers d'acolytes
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for liturgical candlesticks, one decorated with spiral fluting and gadrooning. The plate is signed and numbered.
Sidewall
, 1920
Block-printed paper, hand-rubbed oil finish

Imitation leather. Geometric design of interlacing bands forming circular motifs. The effect is that of stencil work. The field is plain. The entire paper is embossed to represent grained leather and antiqued by hand. On reverse side is written:"8708EE."
Design for a table with monopods, Plate 38 in Receuil des dècorations intérieurs
Charles Percier, French, 1764–1838, 1812
Etching on white laid paper
Book/Print

Plate 38 shows four separate images each numbered 1 to 4. Number 1, shown at the top of the sheet is a design for a heavy table with monopod motifs at either end. Number 2, at center, is a design for a bronze vase. Number 3, lower left, depicts the side panel of the desk shown at top that features a figure of Fame with attributes of laurel wreath and trumpet standing on a ledge above a bucranium. Number 4, lower right, shows a clock design featuring Apollo in his chariot above the dial and a frieze of dancing nymphs in classical garb on either side of a Janus headed herm below.
The elevation of a standing looking glass in Gothic Style
, ca. 1855
Graphite on paper
Drawing

A panelled base is below. An arch rises upon it containing the oblong mirror and tracery on the top. Embedded columns and pilasters form the outward framing. A Cornice with a crest border connects the pilasters above the point of the arch. Tracery fills the wedges. Reverse: blotter of a plan: figures.
Ribbon
, 1850–99
cotton, silk

Polychrome floral pattern on white ground with a blue scalloped edge. Originally part of accessioned numbered object: 1942-23-1-a/h.
Design for a Square Ceiling
George Richardson, British, ca. 1736 - 1813, 1770–75
Pen and gray and black ink, brush and rose and green watercolor on paper
Drawing

Horizontal format design for a square plaster ceiling. The scheme is that of a cupola shown from below. Segments are shown at the four sides. In the corners are octagons containing disks. The spherical octagon stands upon oblique sides. These parts of the octagon show candelabra topped by palmettes. In the center is a circular frame. Festoons hang from the curved sides of the spherical octagon. Framing strip near the edge.
Cartouche Pitoresque
Pierre Edme Babel, French, 1720–1775, ca. 1740-1760
Etching on laid paper
Print

Rocaille cartouche in front of a rocky landscape. The plate is signed.
Jewelry Designs
Friedrich Jacob Morison, German, active 1693 – 1699, ca. 1700
Engraving on laid paper
Print

Designs for jewelry, including broaches, pendants and ornament featuring scrolling leaves, a spider, hearts, crosses, crowns, an anchor, pearls, and jewels. The plate is signed and numbered.
Hood
, 17th century
silk, metal thread, linen Technique: applique on velvet and satin weaves, lined with heavy linen

Green velvet with applique showing the Virgin and Child (?) surrounded by scrolling vine and leaves. Lined with heavy linen.
Design for a Woven Fabric, Fragment
, 1815–1840
Brush and gouache, black paint on oily tracing paper
Drawing

Top row: A Horizontally drawn bunch of flowers. Bottom left: Spiral of a bough with a palmette flower on top and intertwined with an undulated thread. Bottom right: a flower bough.
Stage Design, Staircase in a Half-Ruined Building
, 18th century
Pen and brown ink, brush and gray and brown wash, black chalk on laid paper
Drawing

Horizontal rectangle. Stairs running up from middle to right under wooden framework or scaffolding. In front, part of cupola. Detail drawing.
Sidewall
, 1800–1810
Block-printed, handmade paper

Square of paper showing two motifs of a large-scale geometric pattern. One motif in orange, circular, with repeating blue-black cone shapes, a white design at center and blue-black radial surround. The other motif diamond-shaped.
Study for Roundel with Putto Holding Attributes of Music
Pierre-Victor Galland, Swiss, active France, 1822 - 1892, late 19th century
Graphite and oil on canvas
Drawing

Small winged putto seated on a cloud with a lute and two trumpets behind him.  Graphite marks around the perimeter used for placing the figure in the roundel.
Sketches for Frames
Leblois, Italian, 1770–1790
Brush and gray ink on light blue laid paper
Drawing

Five designs for frames with scrolling ornament. A loose sketch of a face at left.
Calice
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a chalice decorated with ornament motifs including scrolls, grapes, and garland. The plate is signed and numbered.
Gaming purse
, 17th century
silk, metallic yarns Technique: embroidered in metallic yarns on supplementary warp pile (velvet), satin lining Label: silk velvet embroidered with metallic yarns, silk satin lining

Purse of red velvet embroidered in silver metal yarns in a design of conventionalized floral forms radiating from center bottom. With a cream-colored silk satin lining and silk drawstring.
Sidewall
, 1800–1810
Block printed on handmade paper

Vertical rectangle. Axial motif of acanthus below a basket containing fruit and wheat; border of papyrus motif. Printed in neutral red-oranges.
Les Joueurs de Cartes
Paul-Edme Lerat, French, 1849 - 1892, ca. 1880
Engraving on paper
Print

Two figures center, sitting astride a bench and playing cards; four others look on. In the back, right, a man asleep on a bench against the wall. Below, the title, artists' names and publisher's name and location.
Design for a Monument to Emperor Charles VI of Naples
Baldassare De Caro, Italian, active early 18th century, ca. 1735
Pen and black ink, brush and black wash, black chalk on cream laid paper
Drawing

Vertical rectangle. At upper left, an allegorical figure of Victory in flight crowns prince Charles VI, who is on horseback at the top of a pedestal upon a base. Minerva, goddess of war, leads his horse at the right and is identified by the helmet she wears. This group is flanked by Prudence (on left) and Justice (at right) on base.  Fortune and Temperance recline on top of base. Squared for transfer. Scale at bottom.
Flowers
, 1775-1800
Hand colored engraving, brush and red, green, and yellow watercolor on paper
Print

Forty-eight branches with flowers, disposed in six lines. Two bordering lines, engraved.
Mantel Clock Case Design
Gilles-Marie Oppenord, French, 1672–1742, 1738
Etching and engraving on laid paper
Print

Design for a mantel clock case, with a circular case for the clock, framed by a landscape of trees, clouds, rockery, with dogs, topped with an eagle with a snake, horn, scepter, and lighting, in his talons. Below there is a trophy with a hog's head, net, horn, bow, and quiver of arrows. The base is decorated with a central cartouche framed by wings, and rosettes, on egg shaped feet with a gadrooning running pattern above. The plate is numbered and signed. A profile (side view) of the design is illustrated on plate 6 within this series (1921-6-376-6).
Kneeling Figures
Giuseppe Passeri, Italian, 1654 - 1714, 1775–1800
Red and white chalk on rough gery paper
Drawing

Studies of kneeling man with raised arms; details of arms.
Ironwork Designs
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork designs for a screen, balustrade, escutcheon (key plate), and key head featuring fleurons, foliate scrolls, angel female torsos, creatures, rosettes, and scrolling leaves (rinceaux). The plate is signed and numbered.
Donner Lake, Nevada
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

View from cliffs of lake lined with pine trees.
Bandbox
, 1800–1810
Block printed in oil colors on handmade paper

Vertical rectangle in blue, black and green, on neutral yellow field. An eagle with outstretched wings, perched upon an urn decked with flowers, holds an olive branch in his beak.
Bough pot
, ca. 1750
Molded and glazed earthenware with polychrome enamel

Flat at back, the bowed front ribbed and flaring, with two animal-head handles. Sunken top pierced with one large and many small openings. Scalloped rim. Decorated with flowers and insects in blue, green and white outlined in black, on a thick yellow ground.
Perspective pour Saint Cloud (Left Plate)
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Two plates printed on the same sheet, side by side. The left plate illustrates a view of the Saint Cloud gardens with fountain, basins, jets of water and cascades on different levels, framed by hedge walls with niches and statues, planted vases, and figures throughout. The right plate illustrates a view of the garden of the Hôtel d'Aumont with cascading fountains over basins, jets of water, and rockwork, planted vases, trees and arches in the background. Figures throughout the grounds. The plates are titled.
Study of stag head
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on paper
Drawing

Two sketches of a stag head from different perspectives.
Two Designs for Cieling, from "Plafons à la Romaine"
Jean Le Pautre, French, 1618–1682, 1665
Etching on paper
Print

Somewhat more than quarters are shown. Two putti flying in the central medallion hold a scroll. A fantastical griffin and a medallion portrait of a Roman emperor are shown in the left design, two children and a displayed eagle in the right one.
Differents desseins de Tabatières, et pomme de canne, cinquième planche [Different Designs for Snuff Boxes and a Cane Handle, 5th Plate], pl. 53 in Oeuvre de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

1921-6-212-20-a: Four designs for snuff boxes. Two large scenic des...;     1921-6-212-20-b: Six etchings for watch cases showing architectural...
Interior Wall Elevation with a Chimneypiece
Pierre Ranson, French, 1736–1786, 1777-79
Etching and engraving on laid paper
Print

A design for an interior wall featuring ornately painted panels with a central chimneypiece and overmantel mirror. The panels are decorated with fruits and flowers, baskets and festoons of flowers, ribbons, and scrolling leaves (rinceaux). The backplate of the chimney features the French Royal coat of arms with a crown and three fleurs-de-lys. The mantel is decorated with leaves, flowers, rosettes and fluting down the sides. The plate is numbered.
The Martyrdom of Saint Barbara
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1594
Recto: pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: black chalk on laid paper
Drawing

Recto: St. Barbara kneels in the foreground, center. Dioscorus, her father, 
stands behind her and to the right. He lifts her hair with his left hand and 
raises a sword with his right. In the background are spectators behind a 
balustrade and a house at left. A fire burns beyond.

Verso: Indistinct sketch, perhaps indicating a painting framed by an 
architectural surround, possibly a chapel wall. There is an arch at the top 
and a rectangular, altar-like structure at the bottom center.
Fragment
, 17th century
silk Technique: plain weave, alternately warp-faced and weft-faced

Checkerboard pattern in dark pink and yellow.
Stage Design, Fortified Castle Interior for "Ciro in Babilonia" by Gioachino Rossini, La Scala, Milan, 1818, "Prigione Sotterranea"
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and black ink, brush and watercolor and wash on laid paper
Drawing

Horizontal rectangle. Hall with vaults supported by columns, opening into second hall.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Pastoral themed trophy design incorporating foliate branches, grapes and vine leaves, festoon of flowers, jug, wine glasses, tambourine, topiary, and a barrel on a bench overflowing into a receptacle below. The plate is signed and numbered.
Pillow cover
, 16th century
linen Technique: embroidery, cutwork, reticella

Rectangular pillow cover in reticella; central design of female figures with four-footed animal.
Designs for Three Brooches
Giovanni Sebastiano Meyandi, Italian, active 1762 - 1794, ca. 1770
Pen and ink, brush and gray, red watercolor on paper
Drawing

Jewelry designs for three brooches. Above at left, a branch with red cherries and two doves; at right a branch with three blossoming flowers. Below in the interval, a branch with two interlaced ribbons studded with gems. Beveled corners.
Lemons and Lemon Blossoms in a Basket
, 18th century
Brush and black ink, watercolor, graphite traces on coated wove paper
Drawing

Basket filled with lemons and their leaves and blossoms; one lemon partially peeled, a wedge sitting on the ground.
Fountains; architectural details
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A Doric column, with a figure standing upon a pavilion. It is build of blocks and consists of archways with obliquely disposed projecting pilasters at the corners and statues upon them. Water pours from the mouths of animals, grouped in pairs, and flanking a central motif. The left side of the pavilion with the lower part of the column and the column are shown in detail at left. Upper right corner: two stream gods leaning upon a vessel from which water pours. A variation of the design. The pilasters and statues are omitted; the stream gods are disposed in front of the corners. Statues upon pedestals are suggested near the rim of the basin. Bottom right, a shell is fastened to an oblique side of the pavilion. The water pours from the mouths of two dolphins the mouths of which are held open by mermen.
Tsuba
Bairiuken Kiyonaga, Japanese, 1830–43
Iron, gold inlay, gold leaf

This Kenji style tsuba is naga maru (round) in shape and has a gilded mimi kaku koniku (a square rim with slight rounding). The decoration uses maru bori (round surface carving) with nunome kin zogan (an inlay of gold leaf affixed to a serrated ground), and shows byō bu issō (a pair of folding screens) with patterns. 

At the center is the nakago-ana, an opening through which the sword passes. Surrounding this is the seppadai, a flat oval area that is migaki (burnished) and rimmed in gold. On either side are ryō-hitsu openings, both of the suhama type, symbolically represents the coastline of Horai, the holy island of the Immortals.
Adoration of the Magi
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1600
Recto: pen and brown ink over black chalk on laid paper Verso: pen and brown ink, brush and brown wash on laid paper
Drawing

Recto: Beneath the portico of a stable, Mary sits holding the Christ Child,at left. Joseph stands beside her. A donkey drinks from a fountain at the lower left. The Magi and their attendants gather at right. 
Verso: St. Christopher, holding his staff, steps up onto the bank of a river. He clasps the arm of the Christ Child, who stands to the left.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1772–77
Etching on paper
Print

Six designs for agricultural themed trophies incorporating flowers, leaves, fruit, vegetables, barrels, jug, rake, fork, scythe, sickle, wheat, musical scores, and a bagpipe (or musette). The plate is numbered
Vignette with Gourds, a Basket, and a Scale
D. P. Pariset, French, 1740 - ca. 1783, 1769–1782
Engraving on paper
Print

Vignette with Gourds, a Basket, and a Scale
Decorative Panel Design
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

leaves (rinceaux), flowers, textiles, and fleurons. The plate is numbered. 
Design for a decorative panel featuring arabesque and floral motifs including festoons of flowers, flowering branches, draped textiles, scrolling acanthus leaves (rinceaux), s-scrolls, fleurons, and two vignettes. In the upper half, a rural landscape with buildings and trees. In the lower half, two sheep surrounded by trees, with a hat and a lute in the foreground. The plate is numbered.
FLORE
Claude Gillot, French, 1673–1722, 1729–37
Etching on laid paper
Bound print

Plate of arabesques with the figure of Flora at the center under a baldachin. The first state of the plate before engraving and before lettering (see 1921-6-224-7 for the lettered version).
The Peacock
, 1896
Machine-printed paper
Sidewall

Vertical rectangle, a full width, repeating vertically, showing two repeats. Ascending serpentine vine with pink and purple poppies, and two peacocks perching with flowing tails. Printed in green, blues, reds and violets on off-white ground.
Fragment
, 13th century
silk and gilded parchment wrapped around linen core Technique: compound twill (samite)

Pattern of metallic fleur de lys on blue background.
Sewing Book, I.E.A., N.Y.
The Industrial Education Association, 1886
Label: embroidered linen cover, ink on paper pages, cotton and linen samples embroidered with silk, metal fasteners
Sewing instruction book

Small, bound sewing instruction book with hand-embroidered cover in red thread on natural linen. Inside the book, each left leaf contains a hand-written description of the sewing technique and its use. On the right, a small sample of the technique as executed by the student is attached to the page with small brass fasteners.
Design for a Doorway
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1775-1800
Pen and ink, brush and grey washes, black chalk on paper
Drawing

The door frame shows a shell in the overdoor and a triangular pediment. It is flanked by embedded fluted columns. A window is above the door; its frame is flanked by urns with fires.
Edging
, 19th century
cotton Technique: machine made

Black cotton lace edging; horizontal repeat of circular and oval motifs.
LA NOUVELLE PORTE ST. HONORÉ
Adam Perelle, French, 1638 – 1695, 1677–1703
Etching on laid paper
Print

View of the Gate St. Honoré in Paris with buildings and a domed church surrounding it, with figures, horseman, and carriages in the foreground and visible through the central arch. A description is lettered below. The plate is titled and signed.
Elevaon du dedans de la cour de lHostel d’Aumont / Elevaon de l’entrée de l’Hostel d’Aumont
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Two architectural elevations, one above the other, of the Hotel d'Aumont, a Parisian hôtel particulier (grand house). The design above is a view from the inner courtyard with sections of the interiors on the ends. The design below is an exterior elevation of the main entrance. The facades feature windows, dormer windows, festoons, horizontal banded smooth-faced rustication, and finials. A scale below each design. Each design is signed and titled.
Sepulchral monuments
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The main design is in the center. It is similar to that in 1938-88-1279 above at left. The plan is below. Beside its upper part and at left: a sarcophagus is supported by figures standing upon steps: a figure sits upon its cover. The elevation of a niche with a monument in the shape of a column with figures below and with a candelabrum, below a canopy. Beside the chapel is a similar design without canopy. Partly drawn over it is a variation of the design below at left in 1938-88-1279. Two other similar designs are above at right, the lower of which suggests an urn instead of the sarcophagus. These designs are drawn over parts of a candelabrum with many arms.
Sidewall
, ca. 1840
Block-printed

Floral bouquets with stippled, shaped ground, enclosed in irregular framework of coral-like branches. Printed in red, blue, and gray on rough grayish paper.
Frame for a papal inscription
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A tablet with two circular arcs above and an angular broken edge below is in front of the crossed papal keys from which a tassel hangs on either side; two crossed branches below. Below the arcs are medallions, the left one with a bust portrait. Usual background.
Cow
, 1700–1850
Etching or engraving on paper
Print

Foreshortened cow seen from rear.
The left forearm of a woman holding a book
, 1850–1900
Black crayon and white heightenings on paper that has been colored grey
Drawing

Horizontal composition of a woman's arm with a book in her hand. The ruff-like trimming of her sleeves covers her elbow.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Cartouche with a plumed helmet and spears at top, and a mascarons with crossed swords and intertwined snakes at the bottom. The title of the series is printed in the center. The plate is signed.
Trophy of weapons
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Trophy of weapons.
Plat-fonds de la Galerie d’Apollon
Jean Bérain the Younger, French, 1674 – 1726, 1710
Etching on laid paper
Bound print

Eighth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a section of the ceiling from the Gallery of Apollo at the Louvre. The ceiling features a Greek border and ornamented with grotesque and arabesque motifs, with herms, flowers, eagles, cornucopias, military trophies, masks, acanthus leaves, and a central floral and acanthus leaf rosette. The plate is titled, signed, and numbered.
Egg-shaped box
, 19th century
lacquered wood

Egg-shaped, covered box; inside 'makiye' (aventurine) lacquer; outside cream and gold 'nashiji' ground decorated with swallows, maple leaves, and phoenix in gold
Lock and catch
, ca. 1725
Fire-gilt bronze

Rectangular; field decorated with diapering, openings surrounded by foliage.
Ocean Surf, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, September 1860
Graphite on white wove paper
drawing

Seascape sketch showing a view of the ocean's undulating surf off the coast of Mt. Desert Island in Maine. Horizontal sets of waves recede from foreground to background at regular intervals. A nearby wave begins to crash at center right.
Amida Divinité Japonaise qui préside à la Navigation, Et maniere dont on se noye à son honneur
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A chinoiserie (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) ornament print featuring a mythological male figure seated on top of rocaille ornament with leaves behind him and the sea in the background. To the left a kneeling man holds his arms up to the sky. Below in the foreground, a man's legs protrude from a cave-like hole in the ornament. The ornament features cartouches, a crescent moon, fluting, shells, scrolling leaves (rinceaux), feathers, and c-scrolls. The plate is titled, numbered, and signed.