biglam/cooper-hewitt-alt-text huggingface dataset:
Wallpaper Design
, 1830–50
Brush and watercolor, gouache, graphite on heavy white wove paper
Drawing

A dado is shown at the bottom, an entablature on top. Panel has a lilac ground, decorated with rows of spherical octagons with plant motifs in the scheme of steering wheels, alternating with motifs in the scheme of crosses of St. Andrew, composed of four palmettes around a central petal. A garland is on top, with its upper part upon a dark background.
Two Designs for Cradles
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Two designs for upholstered cradles with ornately carved frames featuring a coat of arms, foliate branches, flowers, laurel and acanthus leaves, fluting, a rosette, scrolling leaves, and mascarons (masks). The plate is signed with the printmaker, publisher, and original designer, and numbered.
Designs for Flowers: Single Julienne, Pyramidal Bellflower, Artere Petal, White Lily, Yellow Tulip
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for flowers with their leaves, numbered with a legend below: single julienne, pyramidal bellflower, artere? petal, white lily, and yellow tulip. The plate is numbered.
Furukawa River, Hiroo,( Furukawa Hiroo) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1857
Woodblock print in colored ink on paper
Print

This birds-eye view of the blue Furukawa River shows the ruggedness of the windy pathway that becomes swallowed up in the green meadow landscape. Throughout the journey, eventually flowing into Edo Bay, its name changes from the Shibuya River to the Akabane River, Shinhori River, and Kanasugi River. There are four significant bridges from Ichi-no-hashi to Shi-no-hashi. Here is a view of the landscape showing travelers crossing one of the bridges and the Fox restaurant (kitsune), which is still known today for its eel (unagi). Many of the scenes from Hiroshige's One Hundred Famous Views of Edo allude to local specialties (meibutsu). Today Hiroo is part of Tokyo's bustling city streets, filled with expensive apartments, embassy buildings and of course luxurious restaurants, which feature eel specialties.
Title Page
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching and engraving on off-white paper
Print

Title page for a collection of miscellaneous ornament designs by Pierre Edme Babel.
Two Figure Studies
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, ca. 1780
Crayon-manner with red ink on laid paper
Print

Two figure studies from a series of studies for the education of artists and amateurs, printed in red ink in the crayon manner. Above - a young man crawls on all fours with a sheet or textile draped over his back. Below - a man sits with his legs outstretched and his arm held out with the other clasped to his chest. He is draped in sheets or fabric and his mouth is open. The plate is numbered.
Livre Nouveau de Serrurerie Inventé par Pierretz le Jeune
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Book

An album containing a series of twelve ironwork designs for gates, balustrades, brackets, grilles, door knockers, key plates, key bows, and andirons. The plates are numbered and signed.
Cliffs of the Rio Virgin, South Utah
Thomas Moran, American, b. Britain, 1837–1926, 1873
Brush and watercolor with white gouache on light-brown wove paper
Drawing

A line of eroded cliffs rises from a plateau, while a stream traverses the bottom of a deep canyon.
Sidewall
Robert Graves Co., New York, New York, ca. 1900
Machine-printed paper, varnish

Tile pattern, smallish squares with deep blue lines printed on muted yellow ground. Full width. Simulation of tile work, with blue lines, and small blue squares set diagonally at points of intersection.
Blue on paper.
Doorway, Loggia, Ground Floor, Villa Albani, Rome, Italy
Carlo Marchionni, Italian, 1702–1786, ca. 1780
Graphite, pen and sepia ink, brush and gray watercolor on brown-gray paper
Drawing

The door case has laterally fluted pillars, tapered towards the base. Above the entablature are capitals with a mask in front, supporting the oblique cornices of a triangular pediment. In the center is a lunette with a railing, including a star. A man walks at left towards the door, in which another awaits him, with his dog standing beside him. Behind him are a boy, a man, two women, a dog, and a tree.
Fragment
, 1730–60
linen Technique: bobbin lace (Binche style with Binche ground)

Border fragment with a straight picot edge. Serpentine pattern of flowers and foliage. Five hole mesh (cinq trous ground).
Duchesse brisée en trois
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a three-piece chair: two end pieces with high backs, and a center piece without a back or arms. The frame is carved with scrolls and acanthus leaves. The plate is signed.
Porte-Cochère Design
Laurent Francart, French, active 1681-1690, 1707-1742
Etching and engraving on laid paper
Print

Design for a porte-cochère with a sculpted putto seated on the balustrade holding a basket on his head. The two doors have rondels at the top, crowned by mascarons and festoons. At the bottom of the plate is a scale bar of six French feet ("6 Pieds"). The plate is numbered twice, but not signed.
Design for Two Small Breakfast Tables
Angelo Mezzetti, Italian, early 19th century
Pen and black ink, brush and watercolor, gold paint on white paper, lined with blue paper
Drawing

Sheet of designs for a table divided horizontally into two parts.  At the upper part, an elevation (left) and section (right) of a table with four legs, connected by crossed laths.  Round wooden top frame with round marble top. Inscription below each elevation and section. At the lower part, there are three renderings: a marble top, round, with inscribed rectangle (left); a plan of the wooden top frame with a red horizontal line with the letters A and B and a dotted circle around, C (center); a marble top with a circle in the frame (right);  there are captions below each drawing; the indication of scale is placed along the bottom of the sheet.  At the top of the sheet is another inscription. The sheet is signed at the lower right corner.
Key
, late 18th century
Silver

Key with crowned interlacing L's flanked by harpies, above a mask.
Crowning of Thorns, illustration from "The Passion"
Lucas Cranach the Elder, German, 1472–1553, ca. 1509
Woodcut on paper
Print

Christ is seated at the center, facing right, surrounded by tormentors. A man and two dogs lies in the foreground. Pilate stands in the left background. Two Saxon shields are at upper right.
Title Page from Cahier d ornements et frises dessinés (Book of Ornaments and Friezes)
Henri Sallembier, French, ca. 1753 - 1820, 1777
Engraving on paper
Print

Page divided horizontally into two friezes, each with figural arabesques.
Christening gown
, 1875–1900
linen and cotton Technique: embroidered on plain weave

Bodice with low neck and revers forming collar at back; short sleeves; long full skirt. Front panel ornamented with medallions embroidered in pattern of rose buds joined with Valenciennes lace; embroidery and lace on revers, collar and sleeves; embroidery at bottom of skirt.
Fantastic Flower Motif from Nouvelle Suitte de Cahiers de Fleurs Idéales
Jean-Baptiste Pillement, French, 1728–1808, late 18th century
Etching a la poupée and colored inks on paper
Print

An imagined flower arrangement - pennant-like leaves with small flowers emerge from stems at a diagonal within the composition. Below, smaller botanicals comprised of leaves and blossoms resemble peacock feathers. Etched lines articulated in teal, pink, purple, and ochre.
Trophy Design
Louis Denis Fossier, French, 1744 – 1781, ca. 1765
Etching on laid paper
Print

Ornamental trophy design featuring flowers, birds, ribbons, bow, quiver of arrows, and a female portrait bust.
Plate
, 19th century
Tin-glazed earthenware

Steep curved marly, eight-sided scalloped edge with blue band. In center, a tree crowned by cap and banner, surrounded by band, inscribed: La Liberté ou la Morte.
Fellah of Bethlehem
Frederic Edwin Church, American, 1826–1900, February 12, 1868
Graphite and white gouache on tan laid paper
Drawing

Figure sketch of a male individual, known as a fellah, in Bethlehem, Palestine. Facing the viewer, he wears a tarboosh cap on his head and draped clothing with a flowing robe. Notations regarding his clothing are visible along right margin.
Clouds at Twilight
Frederic Edwin Church, American, 1826–1900, 1872–82
Brush and oil on tan paperboard
Drawing

Atmosphere and landscape sketch showing a view of clouds at twilight, likely viewed from the artist's estate in Hudson, New York, known as Olana. In the immediate foreground, several dark treetops are visible along the lower margin. Between two trees at center right, a distant, purple mountain range is shown in the background. Above, a large cloud bank catches the hot red and pink light of the setting sun at center right. At center, a billowing form rises into a largely open, greenish-blue sky. Another dark cloud is visible at upper center.
Study for "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1844–45
Graphite, white chalk on brown wove paper
Drawing

Woman in left profile, arms up. Label, upper right. Verso: Man seated at easel, facing away toward the right, with pen or brush in his hand.
Apostles after Raphael's "Death of Ananias"
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush and sepia wash over black chalk on cream laid paper
Drawing

Group of seven apostles based on Raphael's "The Death of Ananias."
Une Moria à Bordiquier (Italie)
Adolphe Appian, French, 1818 - 1898, 1873
Etching on cream paper
Print

A grindstone, operated by a man, stands on a small spit of land bordered by water.
South Face, Mt. Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, August 1852
Graphite, white gouache, and oxidized white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the south face of Mt. Katahdin in Maine, as viewed from the south or southeast. Trees cover rolling terrain in the foreground, interspersed with large boulders. At right, a steep, wooded gully extends up the mountain from the foreground into the middle distance. A large, bulging ridge forms a triangle roughly at the center. Behind, the rugged, serrated ridge of Mt. Katahdin stretches across the composition and features a particularly sharp, pyramidal summit at upper center beside another rounded one at right. Rocks all along the mountainside are highlighted in white gouache.
Fragment
, 13th century
silk Technique: compound weft twill (samite)

Ground divided into pearl roundels containing addorsed lions with tree in center. Rosettes in the interspaces. In yellow and brown.
Child
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a young male figure wearing a hat.
Veüe du bout de la grande Allée des Thuilleries
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the garden of the Tuileries Palace in Paris from the grande allée or grand path, with a fountain, garden walls, and tree-lined roads and pathways. People, horseman, and carriages throughout the garden. The plate is titled and signed.
Design for a Candelabra
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Design for an ornate candelabra flanked by two putti (children) at the base. The candelabra is decorated with fleurons, c-scrolls, scrolling leaves and acanthus leaves, rosettes, and shell motifs.
La Grille du Pallais Marchand
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Design for an iron gate with, at top, a crowned orb with fleurs-de-lys, sprays of branches, and garland. The plate is signed and numbered.
Marshy Landscape near Millinocket Lake, Maine
Frederic Edwin Church, American, 1826–1900, September 20, 1878
Graphite and white gouache on light brown wove paper
Drawing

Landscape sketch showing marshy terrain near Millinocket Lake in Maine. Grass or reeds grow out of shallow water in the foreground and extend to a rise in the land at center left that hosts a grove of trees. Behind, white gouache is used to articulate the reflective surface of Millinocket Lake. In the background, the lake's heavily wooded opposite shoreline is marked by white gouache, which highlights the trunks of numerous trees.
Four fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Four fenders.
Project for ceiling decoration
Unknown, Italian, 1650–75
Brush and gray wash, white heightening, pen and ink, graphite on paper
Drawing

Project for the sculptured decorations of three caulted ceiling strips.  The lower half.  The strip at left: the frame is supported by a flying child partly in front of the lower panel.  It is decorated similar to the corresponding central one, shown in -2509.  Below is a broken pediment with two children, standing and leaning upon the corners.  The central strip: a flying putto supports the frame.  He is in front of the lower panel which is decorated with acanthus blossoms.  Below is an attic pediment, with a mask with a shell as a diadem and with cornucopias springing from the mouth.  Below is a festoon. Strip at right:  the lower panel is decorated similarly to the central one, shown in -2509.  Below is a pediment with two sitting children.  Crosses are in the free spaces, corresponding to those in -2509.  The scale is at right, in the lower framing line.  On the reverse is the other half of the project of -2509.  Entwined palm branches are sketched as a decoration of framing strips at left.
Narrow Mountain Valley near Ysapan, Ecuador
Frederic Edwin Church, American, 1826–1900, July 12, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch of a narrow river valley in steep, mountainous terrain near Ysapan, Ecuador. River extends through center of composition and zig-zags from left to right, at times obscured by precipitous mountain slopes, which descend towards the center from the left and right margins. River cuts deep bluffs through bottom of valley. Tall mountain range comprises background.
Floral Design
, 1740–70
Black, white crayon, brush and wash on paper
Drawing

Three stems, one with a leaf and a blossom, one with a blossom, one with a leaf.
Cartouche with Putto Blowing Conch
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical oblong rocaille cartouche with a putto blowing into a conch horn at left. Scrollwork and flowing water. Within cartouche,  seascape scene of a figure on a boat paddling towards a town visible at the shore.
Meeting of Saints Francis and Clara
Belisario Corenzio, Italian, active 1590–1646, ca. 1630
Pen and brown ink, brush and gray wash, white gouache on cream laid paper ,lined on secondary support tipped into paper frame
Drawing

In a great hall, Clara, surrounded by nuns, meets with St. Francis, surrounder by monks.
Sidewall
, 1815–25
Block-printed and flocked on satin ground

Large-scale pattern suggestive of brocade; framework composed of scrolled yellow ribbon, enclosing bouquet of flowers in red flock. Glossy red satin ground. Vertical rectangle printed on joined sheets of paper.
Design for an Embroidered or Woven Horizontal Border, of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

A rose garland. Somewhat over three repeats are shown.
Design for the Embroidered Border of a Waistcoat
, 1790–1810
Graphite, brush and terra cotta, blue, lilac, and brown gouache on paper
Drawing

A rising bough with fantastical leaves intertwined with fantastical leaves in S-curves. A strip with oblique ovoids which are connected by scallops rises, at right. Pricketed.
Bandbox
, 1810–30
Block-printed paper, pasteboard, distemper, oil pigments

Front design is composed of border of roses, rose-red with off-white high- lights. Bottom of design represents garden from which roses grow. The fieldis blue. Center design- Field is in distemper paints. Dark green in design on reverse side is same as sides of 1913-12-7 and half of cover 1913-45-6. Scene depicts a circular pavillion in partial ruins with broken columns beside it. A boy is fishing in a nearby pool. The setting is a park. The rose design is same as half of cover 1913-45-6.
The Death of Archimedes
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush and sepia wash over graphite on cream laid paper
Drawing

Soldier puts his left hand upon head of old man, raising his sword with other. Archimedes kneels on floor of portico, working with compass.
Fragment
, late 16th–early 17th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of dark red cut and uncut velvet on a cream-colored ground. Surface divided into small irregular ogive-shaped areas, each enclosing a tiny blossom.
Design for an Embroidery Border Motif
, 1775–1800
Brush and gouache on paper
Drawing

Three leaf boughs, two of which end in a peacock feather motif, rise from a bunch of flowers. Framing strip at right.
Design for a Frame
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a fame decorated with ornament sculpted in relief, with winged putti-heads in clouds, flowers, acanthus leaves, c-scrolls, rosettes, drapery and shell ornament. The plate is signed and numbered.
Fragment
, late 18th century
silk, metallic thread Technique: cut voided supplementary warp pile (velvet) in a satin foundation with supplementary weft

White horizontally ribbed ground shot with flat strips of silver metal thread, which are occasionally floated to form figured oval medallions that enclose human figures in cut velvet pile. Light blue, pink and yellow velvet cut pile forms alternate figures of a man and woman. Letters in blue pile: over the man, U.EC.P.DE.A.S.TU.; over the woman: ULC.P.DE.A.STU. Letters are reversed.
Design for the Facade of a Villa
Johann Fischer von Erlach, 1650 – 1723, 1670–80
Graphite (leadpoint)
Drawing

Villa carefully rendered in appearance has three sections; a central convex section with three storeys, and two planar side wings with two storeys. Decorative elements include pilasters, arches, and triangular window pediments. Statues stand on pedestals alternating with grilles on
the roof line.
Botanical Sketch, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Graphite on gray wove paper
Drawing

Unfinished botanical sketch from Jamaica showing two views of a plant with long, pointed leaves that resemble those of an agave or century plant.
Portrait of a Cardinal
, 1760-1780
Engraving on paper
Print

Bust-length portrait of an old Cardinal in three-quarter view facing right. Set into an oval cartouche frame. In each corner a cardinal virtue.
Button
, 1801–25
Copper, silver plated, brass

1931-59-126: Circular, convex button with coat of arms showing ...
Apollonius Curing a Young Athenian Possessed of a Demon [above]; Apollonius Raising a Girl from the Dead in Rome [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1597
Pen and brown ink, brush and black wash over black chalk on laid paper.
Drawing

Recto, above: A figure identified as Apollonius sits on a throne at right, within a colonnaded interior. Before him, a figure—a young Athenian—stands, gesturing towards a statue at center, elevated upon a circular plinth. As a demon leaves the young Athenian's body, it knocks over the statue. Many figures surround. Framing line below, with explanatory inscription in Italian.
Recto, below: At center within a crowded urban space, two men carry a dead young bride on a stretcher. Apollonius, at center right, steps forward, one hand outstretched toward her. He will bring her back to life.  
Verso, above: At center within a large colonnaded interior, a woman surrounded by attendants gives birth to a three-headed child, an omen of the Year of Three Emperors. Framing line below, with explanatory inscription in Italian.  
Verso, below: A crowd gathers in an ancient urban space, looking towards the right, where the bodies of executed men appear upon an elevated platform. Apollonius, among the spectators at right, predicts that one prisoner will be saved from death. A messenger arrives at right to announce that the condemned man has been proven innocent.
Figures in a Landscape
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie scenes with figures in a landscape. A vignette with four figures in a landscape with a canopy in the background. A seated man, with two standing men and a boy around him. One of the men, presents a large fruit or vegetable to the seated man. To their right a round table and on either side two large, embroidered banners hanging from wooden poles. Trees, rocks, and foliage surround them. The plate is signed and dated.
Design for Coronet
, mid- 19th century
Pen and ink, brush and sepia wash, graphite on paper
Drawing

Horizontal rectangle. Design for a small crown or tiara. From two converging branches with leaves and buds are springing upward alternatively stems with a bead and a big oak leaf. A row of beads curved like a pediment connects the stems. In the center is a round diamond, framed by a row of beads. Hanging is a pear-like diamond at center. Framing graphite line.
Ornamental Vase Design
L.N. Percenet, French, born 1736, 1762
Etching on laid paper
Print

Lidded bowl-shaped vase functioning as an incense burner, with smoke billowing out of the top. The vase has a wave band at the shoulder of the vase. At the center of the shoulder is a ring, through which is draped a cloth; the cloth is held up on either side by an eagle. The foot of the vase has a band of gadrooning and is elevated upon a plinth, on which is carved the title of the suite. The plate is signed, dated, and numbered.
Head of a Cow
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1778
Crayon-manner engraving in red ink on paper
Print

Head of a cow, facing one quarter right, its mouth open. Probably from: "Premier Cahier de fragment et de principes de dessius de tous genre…"
Rock on a Hilltop, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a large boulder on a hill in Mexico. Situated at center left, the boulder is roughly cubic in form and sits on the edge of steep hill. In the background at left, a rugged mountain range is loosely rendered.

Verso: Landscape sketch showing a view of the mountain known as Peña de Bernal, from San Juan del Rio, Mexico. Situated in the middle distance at center right, the rocky monolith that comprises Peña de Bernal prominently juts above the surrounding landscape. A dark, shaded hill is visible in front of it at right, while rugged mountain ranges flank it at left and right.
Title Page
Jacques-Philippe de Beauvais, French, 1739 – 1781, 1760
Etching on laid paper
Print

Ruinated pedestal with cracks and vegetation taking up the majority of the image. There is a medallion in the center, with lines indicating marble veining. The title and date of the series is printed on this medallion. The plate is titled, signed, and dated.
Textile
Favre Petitpierre, France, 1802–1818, ca. 1800
cotton Technique: printed by engraved copper plate on plain weave

Framed pictures on a background of an oak tree.
Two partial vignettes within rectangular frames with allegorical scenes. Background formed by the broadly spreading branches of an oak tree from which the rectangular frames appear to hang like pictures.
Chef de piece
Gorgerat Frères et Cie., Nantes, France, 1783–1815, 1770–85
cotton Technique: block printed on plain weave

Bottom of a polychrome design which shows speckled bird's eggs in a nest alternate with sprigs of flowers.

Colors (blocks): two blues, two reds, black, olive and grey-brown.