biglam/cooper-hewitt-alt-text huggingface dataset:
Design for One Quarter of a Ceiling
Felice Giani, Italian, 1758–1823, 1800–1823
Pen and brown ink, traces of graphite on light green paper.
Drawing

Vertical rectangle: one quarter. outside framing border, into which circles are inserted. In corner is panel with standing and winged woman between rinceaux. Central circle with figures is surrounged by bands with decorations, outermost has tent motif. Verso: horizontally, beginning of draft: "Eminenza Reverendissima/ Il Canonico Don Andrea Mancini del Aquila avendo aquistato alcuni quadretti desidera portarli alla/ Sua Patria onde suplia L'Eminenza Vostra/ volerli concedere la necesaria licenza/ e questi quadri sono..."
Two Snuffbox Lid Designs
G. Roberday, French, active 1697 – 1713, 1710
Etching on paper
Print

Two designs for snuffbox lids, one above the other. The upper design features three monkeys in a landscape, one appears to be defecating into a pan or bowl, while straddling two branches above. The branches include grapes and birds. The lower design features a winged putto holding a flaming heart flanked by plants and framed by grotesque ornament, strapwork, festoons of flowers, scrolling leaves, herms, mascarons (masks), and birds. The plate is signed and numbered.
Fragments
, late 16th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Three small fragments of grey-blue (maybe purple originally) cut and uncut velvet on silk ground. Small scale allover design of diamond-shaped spaces, each enclosing a conventionalized palmette.
Textile
, early 18th century
silk, metallic thread, gold paint Technique: embroidered using satin, stem and couching stiches on satin weave; painted

Small fragment with a bouquet of multicolored flowers and leaves tied with a ribbon. Satin weave ground is painted gold.
Textile
, ca. 1850
cotton Technique: roller printed on plain weave

Small piece of blue fabric printed with with a black allover sprig-like design. The reverse has a sticker with the Swedish opera singer Jenny Lind. She first came to the United States in 1850 at the invitation of the showman P. T. Barnum.
Button
, 1870
Brass, gold-plated

1931-59-88: Convex button with ornament of a flaming bomb show...
House in Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June–July 1868
Brush and oil, graphite on tan paperboard
Drawing

Architecture and landscape sketch showing a loosely rendered view of a wooden, chalet-style house in Berchtesgaden, Bavaria. Situated in the middle distance at center, the structure is painted a deep red and has an adjoining beside it at right. Trees and other vegetation around this house are loosely sketched, while in the background, the gray-lavender silhouettes of possibly the Kehlstein, Hoher Göll, and/or Hohes Brett backdrop the scene.
Small Church in Sion, Switzerland
Daniel Huntington, American, 1816–1906, August 1843
Graphite and white chalk on brown paper
Drawing

Church at left and rocks at right, with mountain outlined beyond. Verso: Mountains outlined.
Worship of Venus in a Classical Landscape
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and black ink, brush and brown wash, graphite on cream laid paper
Drawing

A statue of Venus is shown in profile at right. A man carrying a child points to it; he stepped downstairs from a temple. A pageant of worshippers approach from left. A park with monuments is in the left background.
Design for a Chimneypiece, from a group supplied to Mr. Talbot
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The opening is framed by a torus with a garland. Above it are the lower moldings of the entablature. The projecting parts have the shape of a horizontal angular frame. It is framed by moldings. Vases with plants are inside below. An ovoidal medallion is above in front of the center, representing a girl and a putto. Festoons hang from it toward the corners, form where they hang downward. Laterally the corners of the frieze of the entablature are shown. Baskets are below them on top of one pilaster strip. Shadow, background, base line plan, scale as in 1938-88-8210. Framling line and traces of the stripe below. Similar to 1938-88-8212.
Figures
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Four partial sketches of a male and a female figure.
Study of Hands for Elderly Woman in "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1844–45
Graphite, black and white chalk on tan wove paper
Drawing

Study of two hands. Left hand, palm downwards on a flat surface. Right hand clasped over left wrist.
Decoration de lambris avec un renfoncement en Niche pour un Boudoir
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of an interior with a bed at center in a recessed niche. At left is panelling (perhaps fitted for a mirror); at right, a set of double doors. The plate is signed.
Valances
, 18th century
tempera on pineapple fiber, silk fringe Technique: painted on plain weave gauze

White sheer fabric painted with a fragmentary floral design in polychrome. Green, red and white fringe on the edges. Tapes for tieing at either end.
Door in a garden wall
Filippo Marchionni, Italian, 1732–1805, ca. 1754
Charcoal, graphite, brush and gray watercolor on paper
Drawing

In the shape of a triumphal arch, with a single high and narrow opening in the center part. Below is a dado, above the entablature is an attic. The wall in the center part is treated like rustic work. The entablature is supported on either side, near the corners, by two columns, inside by one only. In the lateral panels is a niche with a standing female figure, and a circular pediment above, above which is a trophy. Projecting pillar strips correspond at the attic to the columns. Figures stand in front of them. A relief is in the panel of the lateral parts; an inscription in that of the central part. It has a circular pediment, and tow figures sitting with an escutcheon. The left part is the plan and at right the scale.
Head of a Man in Turban
François Boucher, French, 1703–1770, 1757
Black and red chalk on paper
Drawing

Shown from the front, the eyes of the main figure turn toward the left.
Suwa Bluff, Nippori (Nippori, Suwa-no-dai) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Woodblock Print

Located in the middle of people picnicking on blankets, and viewing the cherry blossoms, are two giant cedar trees. Underneath the treetop on the right side is a silhouette of Mt. Tsukuba. This scene of leisure contains various bold colors contrasted with subtle gradations.
Design for Bank Note
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite, brush and wash, black crayon on paper
Drawing

A female blacksmith showing what may be a nail to another woman who is shown kneeling at left. The artist's monogram "WS" is below, in clouds, at right.
Fragment of "Trout Fishing, Lake St. John, Quebec"
Winslow Homer, American, 1836–1910, 1895
Brush and black wash, gray wash and white gouache over graphite on gray wove paper
Drawing

Reflection of hillside on the water with indications of pine trees against a cloudy sky.
Design for an Embroidered Vertical Border
, 1800–15
Brush and gouache on oiled translucent paper
Drawing

A bough with purple and yellow flowers and purple, yellow, and green leaves is positioned to the right of a vertical garland with white leaves. A white vertical stripe and a string of beads appears at the left.
Nude Angel, Angel's Arm, and Drapery Studies, Study for "Mercy's Dream"
Daniel Huntington, American, 1816–1906, 1857–58
Graphite, pen and black ink, white chalk on blue wove paper
Drawing

Study of a nude figure with left arm raised. Additional study of left arm, at right. Drapery studies of sleeves, lower left and right.
Fragment of garment with bands
, 4th–6th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool. Technique: Plain woven linen with in-woven wool slit tapestry and supplementary weft wrapping

Fragment with pair of bands showing twining cords making interlaced spirals.
Cartel with Ecclesiastical Motifs
Pierre-Gabriel Berthault, French, 1737–1831, 1748–1776
Engraving on paper
Print

Cartel with Ecclesiastical Motifs
Cayambé, Morning, from the Panecillo in Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, June 24, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch of the volcano known as Cayambe, viewed from Quito, Ecuador in the morning. At upper center, the mountain peak rises above others nearby. A line of clouds stretches across middle portion of composition, separating foreground from middle distance. Other valleys and hills visible in foreground. At lower left, upper portions of a church are visible, including a belltower and dome.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1729–61
Etching and engraving on paper
Print

Title page for a series of ornamental trophy designs. The title is lettered within an oval frame featuring wings on the sides, flowers, scrolling leaves (rinceaux), flowers, fleurons, and topped with a mascaron (mask) of a bearded man. The plate is numbered and signed.
Drawing
, ca. 1800
Brush and brown wash, pen and ink on paper

Title page.  Two pairs of columns on either end with a statue standing between each pair.  Elaborate column tops with a detailed relief frieze above.  At center top, three winged putti flying around a perched eagle.
Four Mask (Mascaron) Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Four designs for grotesque male masks (mascarons) with fantastical features. The plate is numbered.
Album of Prints: Ceilings Designed by Carlo Maria Pozzi
Carlo Maria Pozzi, 1708
Book

Album of prints containing eight plates of ceiling designs by Carlo Maria Pozzi, from the album, Artis sculptoriae, vulgo stuccatoriae paradigmata. The album also contains a page of text with a dedication to Frederick IV, King of Denmark and Norway.
Mountain View on the Road to Baalbek, Lebanon
Frederic Edwin Church, American, 1826–1900, May 1868
Brush and oil on brown paperboard
Drawing

Landscape sketch showing a view of a craggy, red rock mountain witnessed en route to Baalbek, Lebanon. Green treetops and other shrubs are visible in the foreground along the lower margin. The mountain itself dominates the composition in the middle distance at center. Made up of vivid red rock, the mountain has several dark fissures or veins running through it. Its craggy ridge creates a high, serrated horizon below a blue and open sky.
Chasse
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a casket elevated on a pedestal and decorated with ornament motifs including branches, sprays, cherubs, ribbon, and garland. The plate is signed and numbered.
Soffit and Vase Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Four square soffit and two vase designs. The soffit on the upper left of the plate is labeled "Mercure" underneath, and features a Caduceus in the center and rosettes in the corner. The soffit on the lower left is labeled "Amour," and has a bow and arrow in the center, and helmets and wreathes in the corners. The soffit in the upper right of the plate is labeled "Pan," and has a thyrsus and pan pipe in the center, and wreathes in the corner. The soffit in the lower right is labeled "Diane" and has a trophy with crescent moons in the center and acanthus leaves in the corners. The two vases are in the center of the plate. The top vase is a pitcher with a scrolling handle. The lower vase has flowers and fruits emerging from the top. The plate is signed and numbered, but the top lettering is not visible in the binding.
Button
, 19th century
Steel

1931-59-263: Button with ornament in design of flower with eigh...
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of male figure with arms crossed.
Fragment
, 18th century
tempera on silk Technique: painted on plain weave

White ground with curving stems, flowers and leaves painted in green, blue, rose, yellow, purple.
Two Birds on a Branch
Gilles Demarteau, Flemish, 1722 – 1776, ca. 1770
Crayon-manner engraving on paper
Print

Two brids of the pigeon family on a branch. At top: "3e Feuille du 3r Cahier". At bottom: "Etourneau - mâle et feuille".
Trimming
, 19th century
silk Technique: cut supplementary warp pile in a satin foundation (velvet)

Yellow trimming fragment in a design of a Greek key motif.
Scale Rendering of a Composite Order Capital
Giocondo Albertolli, Italian, born Switzerland, 1742–1839, 1770–90
Pen and black ink, brush and gray wash, graphite on cream paper
Drawing

Neoclassical ornamental design for a capital at the top of a column. Above: elevation of a capital of the composite order; below: plan of capital, with alternate suggestions.
fork
Jean-Charles Cahier, 1819–38
silver

1960-189-1-a: Heavy four-prong forks with fiddle-shaped handles....;     1960-189-2-a: Silver handles with palmetto motive and oval reser...
Drapery Schemes, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

Three designs for drapery, vertical rectangles, organized horizontally across the page. Each design has decoration consisting of straight lines, right angles, and squares in the lower right corner.
Fragment
, 17th century
linen Technique: bobbin lace (Binche style with Binche ground)

Binche-style fragment with a highly conventionalized floral design. Cinq trous gound and straight edges.
Design for a Goblet, from a Series of Eleven Small Designs for Goblets
Virgil Solis, German, 1514 - 1562, 1530–1562
engraving on paper
Print

Goblet with a small portrait medallion near the rim.
Fragment
, 1750–1800
silk Technique: compound satin weave with discontinuous supplementary weft patterning (brocaded)

White satin ground with slender curving stems with exotic foliage, flowers and fruits. Some of the design is figured in supplementary green wefts; other details brocaded in white, rose, blue and black.
Fragments
, 17th century
silk Technique: plain compound weave

Off-white floral sprigs facing in alternate directions in rows on a deep purple ground.
Tassel
, late 16th–early 17th century
linen Technique: knotting

Long tassel with four cross arms. Made of tiny knots which give the appearance of fringe.
Letter case
, 19th century
cotton, silk Technique: printed on plain weave

Portfolio or letter case covered with a cotton print of large-scale leaves in a vase in yellow, blue and brown. LIned with purple silk.
Portrait of Mathias Hovius, Archbishop of Mechlin
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a silk robe and white collar. Below, his escutcheon and motto, and inscription.
Fringe
, 17th century
silk Technique: woven

Fringe with a yellow, green and white striped heading. Skirt threads, looped and twisted, are in yellow, green, and white stripes.
Fragment
, early 17th century
linen warp, cotton weft Technique: block printed, 1&3 S-twill foundation

Pattern of leaves and bands. The black was printed on natural.
Fragment
, 17th century
silk Technique: supplementary wefts on satin foundation

Bar and tree motfs in green and yellow on red.
Sketch of a Male Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on light brown paper
Drawing

Nude male figure reclining to the right, head on hand and feet apart. Small sketch of male nude, upper left. Lower left, sketch on an angel.
Box and cover
, ca. 1830
Carved ivory inlaid with carved mother-of-pearl and carved and stained ivory, gilded overlay

Rectangular box in three sections, gradually diminishing in height, and set on four small corner feet. Ivory decorated with gold lacquer book covers on sides and chrysanthemums on short ends and on cover, there a fence cuts in from the lower left.
Fragment
, 17th century
silk Technique: weft floats in satin foundation

Diagonal bands with acorns in blue. One selvage present.
Print
Hans Sebald Lautensack, German, 1524 – 1561, 1553
Etching on wove paper

Vertical rectangle. Landscape: a village in the foreground; in the distance, to the right, a chateau on a high rock. The chateau is surrounded by high walls, the four angles of which are flanked by towers.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a design of a flower with five petals, stem and a portion of the leaf or stem. Three of the petals in a diamond diaper pattern. Two largest petals have picot edge.
Wood Engraving. Vignette.
, 1800–1830
Engraving and Etching

Statue of the seated Athene.
Textile
, 1830–50
cotton Technique: printed by block and engraved roller on plain weave, glazed

Large flowers in bright colors on a ground of pin-dots. Printed in brown, blue, yellow and red.
Basket of Flowers, Plate
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching, with engraving, in sanguine, ruled borders in etched lines Support: white laid paper
Print

A basket full of flowers stands up on a base. (RB '44) S. K. B.  4447? ???
Bobbin Lace 3
, 18th century
linen Technique: bobbin lace
Fragment

Straight-edged band with cloud like forms and scalloped areas. Round mesh. Sewn to 1897-8-9.
Portrait of Thomas Campbell
Oliver Pelton, 1799 - 1882, ca. 1830-1840
Engraving on paper
Print

Within an arched top frame is the half length portrait of the Scottish poet, Thomas Campbell (1777-1844), shown seated at his desk. His left hand rests on a pile of papers.
Textile
, 18th century
silk Technique: plain compound weave, brocaded

Design of large scale flowers brocaded in flat silver strips. Smaller flowers and serpentine lines in tan form background.
Panel
, 18th century
silk, linen Technique: satin and stem stitch embroidery

Piece of panel with embroidery and drawnwork in alternating rows. The embroidery shows a bird on a vase of flowers, lions, flowers and small motifs in satin and stem stitches. Edged on three sides with bobbin lace and hemstitched on fourth side.
Carving
, ca. 1810
wood, gilded

Oval, with superimposed foliage
Box with seals
, early 19th century
wood,sealing wax

Box with lid, box holds thirty-two red wax seals. A: cover; B: bottom
Fragment
, 16th–17th century
silk Technique: supplementary warp forming raised pile (blue) in plain weave foundation with supplementary warp (yellow)

Diagonal shapes in blue and yellow facing alternately in opposite directions on pinkish tan.
Tile panel
, late 18th–early 19th century
Earthenware, glazed, high fire decorated

1920-15-147/158: Standing man, en face, holding club (?) and shield...;     1920-15-147: Standing man, en face, holding club (?) and shield...;     1920-15-148: Standing man, en face, with long yellow cloak drap...;     1920-15-149: Standing man, pointing toward a basket of apples a...;     1920-15-150: Blacksmith with hammer and anvil.50;     1920-15-151: Standing man, clutching walking stick under left a...;     1920-15-152: Standing man in long yellow cap, with blue cloak o...;     1920-15-153: Standing man in blue coat and black hat, leaning o...;     1920-15-154: Woman in black hat, holding distaff.50;     1920-15-155: Standing man, en face, his right hand inside his j...;     1920-15-156: Man walking toward right, holding short stick with...;     1920-15-157: Man in blue coat, walking toward left, holding sho...;     1920-15-158: Female dwarf, with disproportionately large head, ...
Soup plate
Wedgwood, English, established 1759, ca. 1780
Glazed earthenware (Queen's ware), overglaze decoration

Flat, straight marly, decorated with overglaze maroon edge, maroon and green foliated and interlaced lines. In center of (a), warber-like bird with red wing, turned right; (b) with purple wing, turned left.
Nouveau Cahier de Serrurerie de Grilles et Balcons a la Moderne
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Album

Album of six plates of designs for wrought iron gates and balustrades by J.B. Fay. The plates are numbered.
Plate, from a Dessert Service
Spode Ceramic Works, English, established 1776, 1833–1847
porcelain (feldspar), vitreous enamel, gold
plate

1959-155-1-e: Circular form with scalloped edge and shallow well...
Button
, 1801–50
Cut steel

Steel button decorated with faceted steel ornaments, all have a central boss and one of two rings of bosses surrounding it; all have scalloped edge except F,H,K,L,M,N.

On card 65
Plate Depicting the Villa Borghese, from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
plate

Circular plate of grayish porcelain with blue band between two gilt lines around rim; gilt-bordered circular medallion in center with polychrome ruins of Villa Borghese.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, foliate branches, and flowers tied with a ribbon. Each design is labelled, the plate is numbered and signed.
Paul et Virginie
, early 19th century
cotton Technique: roller printed on plain weave
Textile

Three large oval and three small rectangular vignettes illustrating the story of Paul and Virginia after a 1788 novel by Bernadin de St-Pierre. The large vignettes are captioned in French, the smaller ones are not. Background of stripes and diagonal lines. Brown on white.
Textile
, ca. 1845
cotton Technique: printed by engraved roller on plain weave; mordant for purple

Fragment of printed fabric: finishing scene on lake with men and women in boats fishing with a net. Central scene framed by dense flowers and leaves. Color: purple. Less than one full repeat in height and width.
Elevation and Plan View for a Spiral Staircase
Adolph Bordeaux, French, active 1880–1890, January 8, 1883
Graphite, pen and black ink on cream laid paper
Drawing

Design for spiral staircase, elevation and plan.
Christ and Mary from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Christ and Mary from The Last Judgment by Michelangelo
Textile
, 1700–1750
silk Technique: compound satin with discontinuous supplementary weft twill

Beige satin ground with rising flowering branches and peacocks in multicolored silk contains miniature landscapes: a garden trellis with flying banner has a rabbit peeping through, and a bridge over a stream.
Scarf sample
, mid-19th century
silk Technique: printed on plain weave

Quarter of a printed scarf with wavy floral border in magenta and black and a field showing isolated flowers.
Purse
, late 17th–early 18th century
silk, metal Technique: woven

Envelope-shaped case of dull blue silk with woven design of silver. Back, silver urn with three fleurs-de-lis above and at sides. Confronted dolphins. Framed with heavy symmetrical foliage. Front same. Lined with pink silk and bound with narrow braid. Threaded with silver.
Tiraz fragment
, 750–900
silk on linen Technique: embroidered on plain weave

Fragment with a narrow band of Kufic inscription embroidered in red silk on woven linen. Made during the  Abbasid period caliphate (AD750-1258).
Vase
, ca. 1870–80
Enamel on copper, nickel

A black bulbous vase with a small neck. Vase depicts a flock of white birds flying around the top of the vase. Both top and bottom of the vase have the same, small, decorative band around it.
Paper knife
, ca. 1889
Various metals

Letter knife, elongated; rounded end and point with some worn foliate decoration.
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded, liquid mica

Grid or trellis pattern formed with double rows of dashed lines, has the appearance of a sewn stitch. Cloverleaf design at intersections and stylized floral  motif in center of each void. Printed on ungrounded paper with pattern of dashed lines, almost like fingerprints.
Sampler
, ca. 1790
linen, silk Technique: needle lace

Square sampler with eight small squares of different patterns. Cream silk satin lining.