biglam/cooper-hewitt-alt-text huggingface dataset:
Sketches of Figures and a Signal Tower, Egypt
Frederic Edwin Church, American, 1826–1900, January 4-9, 1868
Graphite on beige wove paper; verso: graphite
Drawing

Sketches of figures and a signal tower from Egypt, possibly the city of Port Said. Shown at upper left is a seated figure viewed from behind; at upper center, a group of four seated men; at upper right and center left, four views of walking figures; and, along the lower margin, two figures walking with canes and two other partially completed figures. All individuals wear light, draped clothing and some type of cap.  At right, an ornate signal tower in a port with an onion-shaped top displays a flag on its left side.

Verso: Mixed sketches from Jaffa, Palestine (present-day Tel Aviv, Israel) showing, at upper left, a domed building beside an arched one; at upper right, four figures rowing a boat at sea away from the viewer; and at lower left, a billowing, moonlit cloud with a silver lining and a long shadow.
The Interior of a Textile Factory
Unknown, 1720–50
Pen and black ink, brush and gray wash on laid paper
Drawing

Three workmen move the wheels of engines manufacturing threads. A fourth man hammers something on a small anvil. A fifth is shown from the rear. View through the door opening of a man at a loom and another carrying something in a rear room. At left of door originally suggested was a wall and niche with three shelves. Later, a broadening of the door opening and of the view into the rear suggested. Two persons work on a curtain. The niche is to be moved to the rear wall.
Gaines pour porter des Bustes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two pedestals to support sculpted busts. The pedestal on the left is decorated with ornament motifs including a radiating mascaron, ribbon twist, acanthus leaves, a garland of bound leaves, and fluting. The pedestal on the right is decorated with a central relief of a lyre, bound leaf garland, and lamb tongue. The plate is signed.
Design for Trophy with Military Attributes
Jean-Charles Delafosse, French, 1734 – 1789, 1770
Pen and black ink, brush and wash, black chalk on white laid paper
Drawing

Military trophy consisting of a helmet, shield, banners, arrows, and hatchets.
Figures Looking Towards a Bay
Winslow Homer, American, 1836–1910, ca. 1895
Graphite on white laid paper
Drawing

Two horizontal sketches, one above the other, of people standing on high ground overlooking a bay.
Sidewall
, ca. 1870
Machine printed on paper

Design of four scenes: "La Chine Rapids, Canada", "The Thousand Isles", "Falls of Montmorency", "Victoria Bridge, Montreal". Each scene is the same size and shown in a similar frame of gilt molding with beading. Printed in blue, yellow, green and brown.
In the Mountains (Decorative Design)
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Pen and ink, graphite on heavy cream paper
Drawing

Two women and a girl gather flowers. Behind them, a farmer drives a team of oxen down the slope. Doves in foreground. Framing lines, although parts of design go beyond them.
LE CANAL DE CHANTILLY
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Bird's eye view of the chateau of Chantilly with its canal, sailboats, and fountains in the foreground. Chateau to the far right. Figures (courtiers) throughout the grounds. Trees in the background and a tree framing the scene to the left. The plate is titled.
Three Sketches of Theseus Subjects, for the Sala di Teseo, Palazzo Gaddi, Forli
Felice Giani, Italian, 1758–1823, 1819
Pen and dark brown ink on laid paper
Drawing

At left: kneeling youngster takes sword and shoes of father Aegeus from beneath stone. Aethra stands beside. In pen and brown ink above: " I/Etra madre di Teseo/ li mostra larmi de padre; at center: King Aegeus recognizes his son during a meal, in brown ink above:  2/ Teseo riconosiuto dal/ padre Egeo; at right:  Theseus standing over corpse of Minotaur, embraces Ariadne, in ink above 3/ Teseo ucide il minotauro/ per la bonta di arianna.
Wall with Trumeau Flanked by Doors
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for an interior wall decoration with applied ornamental stuccowork. At center, a trumeau with an ornamental border containing a large landscape painting. At either side, a set of double doors, each with an oval niche with a sculptural bust above. Scale at lower right.
Fragment
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile in a 4/1 satin foundation (ciselé velvet) Label: Cut and uncut, voided silk velvet in a satin foundation

Diagonally curving 'S' forms in dark green on red satin ground.
Project for a Country Villa
Claude-Nicolas Ledoux, French, 1736 – 1806, ca. 1765–70
Pen and black ink, brush and watercolor, black chalk on paper, lined
Drawing

A rendering of a country house (villa).  The building is presented from an oblique angle and set against a cloudy sky.  It is elevated on a high podium of rusticated masonry.  The two story main block has a hexastyle portico and attic, one story wings laterally with aedicule framings at the central of their three windows.  The central colonnade is of Doric order.  On the attic level, six statues are displayed, positioned on the facade, between round windows.  Trees and bushes are depicted in front of the house, especially towards the edges of the sheet.  Several figures scattered across the foreground.
Title Page
Pierre Ranson, French, 1736–1786, 1777–79
Etching and engraving on laid paper
Print

Title page for a series of designs for interior wall decoration. The title is lettered below a design for a wall in a bathroom, featuring ornately painted wall panels and a bath in a niche, with a large panel above. The panels feature fish, a swan, flowers, beads, shells, nets, festoons of flowers, tritons, pearls, coral, ribbons, scrolling leaves, and fleurons. The bath is decorated with gadrooning, pears, and hanging festoons. The plate is numbered.
Domino paper
, ca. 1750
Block-printed and stenciled paper

Vertical rectangle. Yellow field, with serpentine ribbon intertwined with floral vine, alternating with black band composed of leaves and fruit or berries.
Grand Canyon in Stormy Weather, Arizona
Thomas Moran, American, b. Britain, 1837–1926, ca. 1908
Brush and black wash, blue, brown and pink watercolor, white gouache on paper, laid down on paperboard
Drawing

Horizontal view of the Grand Canyon with the bottom in the foreground, cliffs rising in the middle ground, and dark clouds covering the sky.
Seated Figures with Trophy
Polidoro da Caravaggio, Italian, 1499 - 1543, 1499–1543
Pen and ink, brush and wash on paper
Drawing

A bearded man and a woman sit on the ground, their hands in their laps. In the shadows behind them is a trophy pile.
Cavagnole
, late 18th century
Painted, gilt and varnished papier mache
Game board

Panel "II"
Rectangular board, part of a larger set (1921-22-197 to 209), painted in polychrome colors, gilt, and varnished, with 20 rectangular, decorated sections, numbered 21 thru 40, divided into 4 columns. Number 21, at top left, features winged putto gazing into mirror framed by flower wreath; 22, below, with lactating figure of nude female holding globe in her hands; 23 of red capped European Goldfinch perched in tree; 24 of seated nude male with outstretched arm and fire emanating from the top of his head; 25, at bottom left, with putto holding arrow and shield and framed by flowered wreath; 26, at top, with profile bust of peasant woman wearing white cap; 27, below, of basket of turnips; 28 of bare breasted woman dressed in long flowing robes and crown, wielding dagger and standing before burning city; 29 of orange-red flowers, possibly lilies; 30, at bottom, of 3/4 view of peasant woman holding dish containing coin; 31, at top, with figure of bearded, elderly man in large brown cap, and dark coat with broad white collar, holding coin between his thumb and forefinger; 32, below, of pomegranates; 33 of warrior in armored breastplate, plumed helmet, red flowing robe and sword at his side, standing before a masked ship with arm outstretched; 34 of classical urn containing flowers; 35 of beggar playing violin; 36, at top right, of blindfolded putto with horn and quiver in his hands and framed by flowered wreath; 37 of seated nude male with flowing red robes and transparent veil draped over his head, his outstretched arm grasping a nearby branch; 38 of horse with dressy feathered plume, mask and muzzle, bearing large baskets of bread and vegetables on his back; 39 of partially draped, seated figure of sculptor with tools in hands and marble bust to his side; 40, at bottom right, of putto framed by flowered wreath. Numbered rectangles framed by classical grotesque decoration on 4 sides with gold highlights. Left 2 columns and right 2 columns divided by vertical column of laurel leaves. At top a crest of laurel leaf swags flanks central, gold-framed cartouche inscribed with Roman numeral II. Reverse painted a rose color and is unadorned.
Landscape
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of landscape.
Iris Viewing
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Two women and a little girl, in beautiful traditional wear, observe the irises in bloom. Two men on the right either are also admiring nature's gifts or are gawking at the finely dressed women. A pair of middle-class women walk away from this crowd near the bend of the path.
Project for an altar
, 1775–1780
Pencil, pen, brush, sepia, and grey water color on paper
Drawing

Vertical composition of an altar with festoons between the capitals. Upper left contains shadow of 1901-39-2577.
Designs for a Bench
Giuseppe Barberi, Italian, 1746–1809, ca. 1810
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Designs for the left hand side of a bench. Paw feet. Arms decorated with a floral vase. At back, an eagle head with a tassel in its beak.
Clock Case Design
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Designs for the profiles of the pendules from plates 2 and 5. The plate is signed and numbered.
Design for a Chandelier
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash on cream laid paper
Drawing

Center element consists of a quiver filled with arrows supported by four ropes. Four arms, with flowing candles, are decorated with flower clusters and a garland. Flower clusters are entwined around the quiver. Scale at bottom, in black ink: 2 pieds.
Washington Irving's Study Chair, Library at Sunnyside
Daniel Huntington, American, 1816–1906, March 15, 1860
Graphite on blue wove paper
Drawing

Chair with arms an upholstered back, facing toward the left. Color notes on chair.
Two Fishing Boats with Sails, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881–82
Charcoal on cream wove paper
Drawing

Horizontal view of heads and shoulders of four men in oilskins, in foreground, watching two fishing boats rigged with sails in the background.
Ornamental Designs for Small Metal Objects
Jean Mariette, French, 1660–1742, c. 1737
Etching and engraving on paper
Print

Designs for small metal objects, including locks, door knockers, keys, rosettes, and buttons. The names of the various items are listed next to their forms: "Chapiteaux," "Frises," "Profil de la piece A," Profil de la piece B," "Bassecule," "Platine," "Espagnolette," "Heurtoir de Porte" (3), "Fiche a Vase" (2), "Targette a main," "Rosette ou bouton," "Cloud pour heurter." The plate is nor numbered or signed.
Plan de la Sepulture des Rois de Valois à St. Denis
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for the Valois Kings Mausoleum with a rotunda form with a scale below. The plate is titled and signed.
Peasant with Bag
Carlo Marchionni, Italian, 1702–1786, 1728–78
Graphite on brown laid paper
Drawing

Bent male figure with bag on ground between his legs.
Bacchanalian Scene with Circle of Dancing Figures
Felice Giani, Italian, 1758–1823, late 18th–early 19th century
Pen on paper
Drawing

Classical architecture in background with dancing female figures in center and male and female figures engaged in bacchanalian pursuits on lower right corner.
Fragment
, ca. 1625
walnut

cluster of fruits with ribbons.
Campfire, Maine Woods
Frederic Edwin Church, American, 1826–1900, 1850–1856
Oil on cream paperboard
Drawing

Landscape sketch showing a view of a campfire beside a shallow mountain stream in the woods of Maine. The immense trunks of two fallen trees criss-cross at center, creating a pocket in which the fire burns. Its rich red-orange flames lap the thick branches that fuel it, while others become glowing coals in the depths of the inferno. Below, comprising the foreground, a shallow, rocky stream reflects the fire's warm light. A steep mountainside strewn with fallen leaves, decaying trees, and other detritus backdrops the scene.
Plan of Building and Garden
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1770
Etching and engraving on paper
Bound print

Plan of a garden and garden buildings. An extensive key to letters A-Q figures in the print on the right. Lower left and right are perspective views of part of the building and the garden. In the view at lower left, a group of dancing drinking putti figures, some playing music.
Design for a Panel
, 1785
Pen and dark ink, brush and sepia wash, graphite on paper
Drawing

Panels of a dado with intertwined waved laurel boughs. A pedestal projects at right showing a female mask crowned with a coronet with a crescent and supporting a filled quiver which is topped by an oak wreath and stands before an oval frame from which the waved ribbons of a bow-knot and flower boughs drag.
Coastal Views, Maine or Canada
Frederic Edwin Church, American, 1826–1900, 1850–55
Graphite and white gouache on gray wove paper
Drawing

Mixed sketches showing views around the coast of Mt. Desert Island in Maine, or Grand Manan Island in New Brunswick, Canada. Along the upper margin, fourteen sailboats are sketches from various angles and at various distances. Some appear to be grouped together. At upper left, a small wooden cabin with a shingle roof with scaffolidng nearby, upon which clothing or other linens dry. At upper center, a rocky cliff with large boulders is shown along the edge of a body of water. At lower left, a dock made up of horizontal logs is visible, with a faint sailboat just beyond it, while at lower right, a sailboat is viewed in front of a rolling, wooded coastline with white, billowing clouds above it.
Sash or band
, possibly 16th century
silk, linen, metallic Technique: brocaded tablet woven (warp twining)

Polychrome geometric patterns on a deep red background that is patterned by the diagonal lines of the warp twining.
Textile
, ca. 1780
cotton Technique: printed by engraved plate on plain weave

Red and white toile with scenes of small groups engaged in fishing, loading small boats, hauling fishing nets. Buildings include fortresses and towers.
La Couronnement de la Rosiere
Jean-Baptiste Huet, French, 1745 – 1811, 1785–1790
cotton Technique: printed by engraved plate on plain weave
Textile

Red and white toile with a scene of a seated woman being crowned with a circlet of roses by a man standing behind her while another man crouches next to her. She is holding a ribbon tied to a sheep. There are two other people behind them, and another group of three stands to the side. The scene is framed by a fringed canopy held by flowering rose vines. Above are acanthus scrolls with dogs and a putto standing on a pediment.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: Compound weave in 8-harness satin with floats of of the foundation weft and continuous and discontinuous supplementary weft patterning bound plain weave by a supplementary warp. l

Fragment of russet silk satin brocaded in gold, and ivory and green silk, showing incomplete symmetrical  pattern of foliage and lattice. One selvage present.
Fringe
, ca. 1865
silk, cardboard Technique: woven

Red silk fringe still wound on the cardboard on which is was purchased.
Tablecover
, 17th century
silk on linen Technique: satin and outline stitches on plain weave; cardwoven fringe; bobbin lace

Delicate multicolored flower clusters form intersecting diagonal bands across the surface of the tablecover. Bobbin lace edging decorates longest edges while fringe decorates shortest edges.
Fragments
, mid-18th century
silk Technique: warp-oriented plain weave patterned with supplementary [flushing] warps and discontinuous supplementary wefts

Twined ribbons supporting bunches of flowers on a ribbed "flushing" warp background.
Study for "Apollo," Metropolitan Opera, New York, NY
Francis Augustus Lathrop, American, 1849–1909, 1893–1894
Black pastel crayon, graphite on paper
Drawing

Sketch of a male figure for a lunette in the Metropolitan Opera.
Key
, ca. 1775
Fire-gilt bronze

Pierced scroll-work handle surmounted by a crown; open-work initials interlaced.
Charity
Charles-Francois-Adrien Macret, 1752 – 1723, 1780–81
Engraving
Print

Vertical rectangle. Charity, a young woman with three children on her lap. She is seated on a balustrade feeding one of her children. Next to her is a plate with a spoon. (OPB '59)
The Last Judgement
, 1580–1595
Pen and ink, brush and gray wash on laid paper
Drawing

Vertical format. Seated on a sphere, representing the sun, Christ is surrounded by cherubs. Below, figures being drawn up to Heaven, while others are being sent to Hell.
Design for the Embroidery of a Skirt
Fabrique de Saint Ruf, Lyon, France, 1780-1790
Brush and gouache on glazed tracing paper
Drawing

A variation of the design 1923-61-22, replacing a knot by a bowknot.
Portrait of Wilhelm Tell
Pierre-Michel Alix, French, 1762 - 1817, ca. 1800-1815
Colored engraving, possibly aquatint on paper
Print

In an oval enframement is the half length portrait of the Swiss legendary figure, Wilhelm Tell (probably around 1400-1450), turned slightly to the left, his cross-bow in his hand.
Costume Design: America for a Ballet
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. A young man is shown frontally, standing, and carrying with his right hand a spear. Written on top, in ink: "Sigre Carlo Forni"; below, in ink over pencil: "America".
Woman's cape
, early 19th century
cotton Technique: roller printed on plain weave

Tiered and ruffle-edged cape of cotton printed with a multicolored floral pattern on a black ground.
Tiraz
, 11th–12th century
linen, warp and weft, with silk for the tapestry weft. Technique: slit tapestry woven with plain weave

Silk polychome  horizontal bands on linen. The design is an inscription in Arabic which in translation is "Aid from God" , repeated.
Fragment
, 17th century
Technique: plain weave with supplementary weft floats

Minute all-over design of a bird alternating with a broken branch in yellow and brown.
Fragment
, 17th century
linen Technique: knotting macramé

Two triangular pendant tabs ending in a small tassel.
Fragment
, 1420–1532
Technique: discontinuous interlocked warps with continuous weft

Large zigzag design consisting of four rows in shades of tan, dark blue, on red background.
Textile
, early 19th century
silk Technique: plain weave

Striped taffeta from a chasuble lining. White ground with fine stripes of brownish lavender and faded rose with a brownish stripe.
The Expulsion from Paradise
Hans Sebald Beham, German, 1500–1550, 1543
Engraving on laid paper
Print

Vertical rectangle. Adam and Eve are represented walking to the right, turning their heads toward the angle who persues them. The arms of the angel are raised.
Study for a Mural or Panel
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Many figures laying railroad tracks, right. Dogs on left, near seated figure, possibly Native American.
Peep-show, Vue Perspective de la Rue des Peintres du Cote Inferieur Vers la Tour de Perlac à Augsbourg
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 17th–18th century
silk Technique: damask, discontinuous supplementary weft patterning (brocaded)

Fragment of green silk damask brocaded in gold and rose. Symmetrically entwined foliage, grotesque figures and a tower.
Fragment
, 6th–7th century
linen, wool Technique: woven

Fragment of woven wool with polychromy design showing a pair of facing birds, floral medallion and dark shapes. In main body of the garment, at given intervals, triple weft threads are run through.  Mounted on plain weave linen.
Trimming
, 17th century
silk Technique: woven

Heading woven in a pattern of alternating pink and yellow stripes. Weft threads arranged to form narrow looped fringe on either side.
Peep-show, Vue Perspective de Bilbao, Ville d'Espagne dans la Biscaye
, ca. 1750
Engraving in ink and washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Veil
, 19th century
linen Technique: needlework on net

Embroidered net veil in a flora pattern arranged as a border with a flower and vine motif in two corners.
Decorated Capital Letter M
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter M before St. Matthew holding his pen over the inkstand which is held by the angel.
Cap streamers
, 1700–1750
linen Technique: bobbin lace, Mechlin style Label: linen bobbin lace

Cap streamers of Mechlin lace in a design of an asymmetrical "pearled" serpentine band, intertwined at intervals by floral and foliated forms.
Ornament
, late 19th century
linen Technique: needle lace with ground of loop and twist with loop and twist return

Yellowish-white ornament of a bouquet of flowers tied with a ribbon.
Cup
Meissen Porcelain Manufactory, German, active from 1710 to the present, early 19th century
hard paste porcelain, vitreous enamel, gold
cup

A porcelain cup with floral pattern in gilding. Angular handle.
Medallions
, late 18th century
Stoneware

1925-2-3-a,b: Medallions in the style of Wedgwood Jasperware - f...
Mug
, 18th–mid-19th century

Poly-chromed border
Sidewall
, 1870–1885
Block-printed paper

On light blue ground, sparse background fill of small ivy-like vines and leaves in gray-blue. Over this, pattern of brown branches with leaves and green apples.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1821–1833
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-j: Circular form with scalloped edge and shallow well...
DESCRIPTION DES FÊTES DONNÉES PAR LA VILLE DE STRASBOURG Pour la Convalescence du Roi : à l’arrivée et pendant le séjour de Sa Majesté en cette Ville.
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

Nineteenth page (recto) of the engraved text describing the festivities framed in a rocaille border, with the French royal coat of arms, flanked by flags on the top. Cartouches with a fleur-de-lys on both sides of the border, with roundel portraits hanging below. The city of Strasbourg's coat of arms in a cartouche on the bottom. Twentieth page (verso) of the engraved text framed in a three-sided rocaille border, topped with the three fleurs-de-lys in a cartouche above. A small tailpiece vignette featuring putti, barrels of wine and flowers is above a larger tailpiece framed in a rocaille cartouche featuring a ribbon with a Latin inscription and the city of Strasbourg's coat of arms. The tailpiece vignette shows a detailed scene with a large crowd of people at night, in front of an illuminated stage within the city of Strasbourg, with buildings in the background. The vignette is signed.
The Antikamnia Calendar, November and December, 1897: A Withered Blossom
Louis Crusius, American, 1862 - 1898, 1896
Chromolithograph on paper with string binding
Calendar

November and December, 1897.
Sidewall
, ca. 1880
Machine-printed paper

1970-26-4-cd: Aesthetic neo-Gothic pattern of a stylized eight-p...;     1970-26-4-cdd: Aesthetic or Anglo-Japanesque pattern with overlap...
Textile
, 19th century
printed

One of seven pages from a printed fabric sample book. Page is double-sided.