biglam/cooper-hewitt-alt-text huggingface dataset:
REPRESENTATION DE L’ARRIVÉE DE SA MAJESTÉ LOUIS XV EN LA VILLE DE STRASBOURG Le 5. Octobre 1744 par la Route et Porte de Saverne
Johann Martin Weis, French, 1711 - 1751, 1745
Etching and engraving on paper
Print

A view of the king's arrival into the city of Strasbourg, in a carriage accompanied by soldiers on horseback. Soldiers and crowds line the road to watch. Tents are set up along the way with the city visible in the background. The plate is titled, signed, numbered, with a legend, and features the Strasbourg coat of arms.
Stage Design: Interior of Palace Halls
, late 17th century
Pen and bistre, brush and sepia wash on paper
Drawing

Horizontal rectangles showing a hall richly decorated with architectural moldings and sculptures on pedestals. In background, textiles hang from shells above three arched doorways.
Les Petites Cascades de Beauvais à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. Views of fountains in the gardens at Chantilly, France. The upper plate illustrates fountains, basins, and cascading fountains with gardens walls, planted trees, and topiary. The lower plate illustrates an octagonal basin with fountain / jets of water in the center and a building in the background with grass, paths, and trees. Figures throughout the grounds in both plates. The plates are titled.
Ornamental Vase Design
Charles Leviez, French, 1708–1778, 1756-1773
Etching on laid paper
Print

Lidded vase in the form of an incense burner, with smoke billowing from the top. The rim of the vase is decorated with grotesque mascarons. Festoons are draped between, connecting at the mouths of the mascarons. The neck of the vase has deep, slanted carving. There is another mascaron (perhaps a satyr) at the center of the shoulder of the vase, with drapery over its top and connecting at either side of the vase in a knot. The foot of the vase is a tripod formed from goat legs. The vase is set upon a small bit of earth. The plate is not signed or numbered.
The Sense of Sight
, ca. 1750
Brush and watercolor on paper, mounted
Print

At left a couple with a mirror, a couple reading from a book with magnifying and eye glasses; at right a woman looking thorugh a telescope. Surrounded by trees in landscape with houses, a tower, a bridge. Bottom margin left: "ET TERRAE, et Coeli, quid habend miracula pulchris / Haec si non oculis t anta videre queas". Center: "LA VUE / a Paris chez Daudet". Right: "Les miracles diverse de la Terre et des Cieux / Ne seroient rien poir nous s'il nous manquoit [very small] les yeux".
Coffeepot and stand
, ca. 1800
Enameled tôle

a) Barrel-shaped coffee pot, standing vertically on cabriole legs with ball feet; b) flat cover with urn shaped knob; ring handles held in lion-mark plates; faucet in bottom. Triangular stand, c) concave sides, with circular holder for heating arrangement. Brown, with decoration in dark brown, black and gilt.
Printing block
, late 18th century
wood, metal

Block for printing textiles with a carved design of a thin, serpentine stem with flowers and leaves. Wire rods massed around pattern and set as diagonals in open spaces. Grooves in the sides for handling.
Diverses fabrique construites jardin du cidevant Château de Ville d’Avray par lefevre Architect
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating various garden buildings and structures, including three exterior elevations, three sectional views, and three floor plans. The plate is titled, numbered, and signed.
Rainforest, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of a large, diagonally-growing tree in the dense rainforest of Jamaica. Prominently situated at center, the nearly horizontal trunk of a thick tree extends away from the viewer, from the lower left corner to the upper right. Two large boughs grow vertically out of the trunk, which itself is covered in moss, ferns, and other foliage. Other smaller trees that frame the scene at left and right also host plants on their trunks. Below, the foreground is filled with diverse and expressively rendered vegetation. In the background, some discernable tree ferns and palm trees help comprise a largely indistinct backdrop of greenery. Above, the blue, open sky is visible through the dense forest canopy.
Vest
, 19th century
silk and metallic embroidery on wool foundation Technique: embroidered in appliqué on plain weave

Sleeveless jacket of off-white wool broadcloth, embroidered with a deep border around bottom and armholes. Applique of red velvet, with gold braid and embroidery.
Stage Design, Palace Courtyard
, 18th century
Pen and black ink, brush and watercolor, graphite on laid paper
Drawing

Horizontal rectangle. Court of palace seen through arches of portico. Upper floor visible. At center, receding long gallery toward open air.
Button
, 19th century
pearl shell, copper and glass

Circular buttons with a central brilliant of white glass set in engraved leaves of seaweed type and milled edge.

On card 29
Study of a Mourning Woman
, ca. 1750
Red crayon, white heightening on grey paper
Drawing

Women slightly turned toward right, seen from the front, her left hand in front of her breast.
Studies of Sheep
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1875
Graphite and black crayon on paper
Drawing

Grazing sheep shown in two lines, the top one showing three animals, the lower one, two sheep.
Wall Elevation with Bookshelves
Étienne Charpentier, French, 1707 – after 1792, mid- 18th century
Etching and engraving on laid paper
Print

An interior wall elevation featuring a central chimneypiece with an arched over-mantle mirror, decorated with ornamental rococo paneling with strapwork, gadrooning, fleurons, c-scrolls, plumes, acanthus leaves and shell motifs. To the left of the chimneypiece, framed by paneling and set into the wall are six bookshelves, framed by an arch with a fleuron and acanthus leaf ornament at the top. To the right of the chimneypiece, the same again without the bookshelves. Below, at the level of the mantle-piece, is a plain dado level, consisting of three panels on each side. Below the elevation is a scale and an outline of the wall paneling, as seen from above, illustrating the shape and depth of the carving.
Détails des Ponts du Jardin de St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with elevations, sectional views, a plan, and details of the mechanics for garden bridges with ornamental balustrades and Chinoiserie motifs. The plate is titled, signed, and numbered.
Design for a Daybed
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered daybed with a carved frame featuring scrolling leaves, festoons of flowers, and shells. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper mounted to board
Drawing

Sketch of a female figure. The upper part of the body is shown with the left forearm lying upon the head which is shown thrown back and turned towards the spectator.
Portrait of Juan Pablo Oliva (1600-1681)
Jean-Pierre Simon, French, 1650 - 1710, ca. 1670
Engraving on paper
Print

Half-length portrait of the Cardinal, head slightly titled to the left; uncovered head. In an oval frame.
Sketchbook Page: Flagellation of Christ
Felice Giani, Italian, 1758–1823, 1810–15
Pen and brown ink, brush, sepia wash on cream laid paper
Drawing

A nude male figure tied to a column being flagellated by four other men.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1815–1815
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

Rinceaux with leaves and flowers over a stripe showing short flower boughs separated by beads. One and a half repeats are shown.
Study of a Dead Oak Tree
Daniel Huntington, American, 1816–1906, ca. 1836
Graphite and black crayon on cream wove paper
Drawing

Study of the branches of a dead oak tree.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Designs for six decorative panels and friezes featuring arabesque and rococo motifs with scrolling acanthus leaves (rinceaux), festoons of flowers, fleurons, snakes, and c-scrolls. The plate is numbered.
LE MONASTERE ROYAL DE VAL DE GRACE
Adam Perelle, French, 1638 – 1695, 1668–1703
Etching on laid paper
Print

View of a large monastery in Paris with its inner courtyards and garden visible and other buildings in the distance. The central building is domed with a staircase leading up to an entrance portico topped with a pediment. Figures and horse drawn carriages in the foreground. A short description is lettered below. The plate is titled and signed.
Button
, 19th century
Brass, gold plated

Convex button with ornament showing heraldic devices on a shield, lion supporters, crown above and leaf ornament below. Back and shank of brass. On reverse, "Superfins Paris E.B."

On card i80
Lit de Repos à la Provançale
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on blue paper
Print

Two designs for daybeds upholstered with floral motifs, and drapery with hanging tassels. The frames are carved with scrolling leaves, running patterns, flowers, and rosettes. A scale below. The plate is titled, numbered, and signed.
Design for Mechanical Furniture: Half-Round Writing Table
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A half-round table, elevation and two plans showing fitting for writing implements.
Whale Hunt by the Emperor Claudius at Ostia
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1596 or before
Recto: Pen and brown ink, brush and brown and black washes over black chalk on laid paper Verso: Pen and brown ink on laid paper
Drawing

1901-39-114: Recto: A wall surrounds an oval enclosure filled w...
Portrait of Frans Snyders, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, ca. 1638
Etching on paper
Print

Portrait of a man, facing frontally, the head turned slightly to the left, looking out at the spectator. Both hands are visible, resting on the back of a chair.
Project for a Painted Square Ceiling
Luigi Rossini, Italian, 1790 – 1857, ca. 1825–50
Pen and black ink, watercolor over graphite on paper
Drawing

Heracles fights the Nemean lion. Decorative motifs include rinceaux, decagons, garlands, and sphinxes.
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The third plate from a series of ten illustrating the tools and art of embroidery. Eleven numbered illustrations of designs for embroidered ornament, tools, and techniques of stitching, all on a plain background within a double-lined border. The designs include a rose, fleur-de-lys, and a portrait of a woman. Different elements within the figures are indicated with letters. The numbers and letters are referred to in the accompanying text, which is not included in this album. The plate is titled, signed and numbered.
Gulf of Corinth, Greece
Frederic Edwin Church, American, 1826–1900, April 26-27, 1869
Graphite and white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of rugged, rocky hills along the Greek coast in the Gulf of Corinth, viewed from the water. In the foreground, water extends to the middle distance, where it meets the rocky coastline, highlighted in white gouache. In the background, taller, sharper, snow-capped mountains are visible. Dark clouds hang in the sky above. 

Verso: Landscape sketch showing a view of a mill built on a rugged coastline in Cephalonia, Greece. In the foreground, water stretches to the middle distance, where it meets the shoreline. At center, the mill building is showing with its wheel facing the viewer. Behind it, two other structures are built on a gradually inclining hillside. In the background, two taller, more rugged hills are shown, one with a wide structure at its peak.
Design for a Woven Fabric Motif
, 1815–30
Brush and gouache on brown oiled translucent paper
Drawing

Textile design featuring a colorful paisley-like motif with a pedestal, from which an elaborate, fantastical flower arrangement emerges. The design is outlined in black and contains red, white, green, yellow, blue, purple, and maroon.
Lid for vase
, 1840s
Cut, enameled and engraved glass

Ruby glass, hat-shaped, tall finial, upturned scalloped rim, engraved grape vine motif.
Stage Design, Group of Buildings Near Port
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Group of buildings, triumphal arch, tower, monumental sculpture, and other buildings near port with boats in background.
Textile
, 16th century
silk, gilded parchment wrapped around silk core Technique: compound satin weave

Episode from the story of Laila and Majnun; repeated in reversed rows in pale golds and tans and very pale turquoise on dark brown ground (originally yellow, salmon, light green, light blue and white on black ground). Laila in a houdah on a camel led by a turbaned servant; inscription in cartouche on side of houda: Amal: Ghiyath, meaning, "The work of Ghiyath". Majnun seated, holding a gazelle; flowering plants and birds and animals, including spotted leopard, stag, roaring lion, antelope, dog, fill the ground. Certain details like lion, houdah peak, faces, parts of plans show traces of gilt foil applied to vellum and wound on silk core; metal traces are so scant, however, that to superficial glance, all areas appear to be in silk. 
*NOTE: A pair of lovers whose story was told by Nizami, a famous Persian poet (1140-1203), in his "Khamsa" and who were thereafter popular subjects in miniatures, pottery, and personage textiles. Parental opposition separated the lovers, and Majnun wandered in the desert writing poetry, alone except for the wild creatures he tamed. Laila seeks him there and finds him with a gazelle whose eyes remind him of her.
Sampler
, 1688
silk, cotton and linen embroidery on linen foundation Technique: embroidered in satin, eyelet, stem, back and cross stitches on plain weave with withdrawn element work

Letters and detached geometric motifs. Withdrawn element work with needle-made fillings using linen.
Pets
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top; short story on the negative aspects of owning a pet. Bottom; center background, profile of woman facing left, sitting in a rocking chair holds pet alligator or crocodile, finger caresses chin. Center background, monkey sitting, with knees to chest, biting crocodiles or alligator's tail, left hand grabbing cat's tail. Right background, bird stands on birdstand, watching monkey below.  Foreground, left, crow with frog in beak; left, cat walking towards crow.
Design for a Waistcoat
, 1780-1790
Pencil and various gouache colors on paper
Drawing

Design for the embroidery at the left bottom corner of a man's waistcoat. The oblique edge of the waistcoat and the bottom edge of the pocket are shown yellow with black shadowy stripes. Small boughs with naturalistic and gem flowers are beneath the edge of the pocket. A row of seed plants which are connected by feathery leaves is beside the edge of the waistcoat.
LE JEU DE LA TOUPIE / L’ESCARPOLETTE
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Third plate from a series of twelve scenes depicting children's games, framed within decorative rococo cartouches, two per plate, side-by-side. The left-hand side shows a group of boys playing with spinning tops within a landscape. The right-hand side shows a group of children playing in a landscape with a boy pushing a girl on a swing. The titles are lettered below each cartouche, the plate is signed and numbered.
Design for a Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache, incised lines on glazed tracing paper
Drawing

A lyre stands upon a much damaged floral base in an ovoid formed by pairs of laural boughs, parts of which are shown. A star crown is in the top center.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase with three visible handles, with fauns sitting on each handle, decorated with garlands of vine leaves and grapes. There is a landscape in the background with clouds, a tree trunk and foliage. The plate is numbered.
Design for an Altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

A variation of the altar in -1373. A tub sarcophagus fills the hollow. The lateral panels are empty. The furniture with the tabernacle is in teh scheme of 1901-39-2625, with a different design of the mouldings. Usual background.
Seagulls, Sailboats, and a Tree, Mount Desert, Maine
Frederic Edwin Church, American, 1826–1900, August and September 1849
Graphite and white gouache on tan wove paper
Drawing

Mixed sketches around Mount Desert Island, Maine, showing views of a lone, weathered evergreen tree at center, sailboats on the water at upper right--one with two masts shown nearby in profile--and, at upper left, a flight of ten seagulls flying in different directions and extending into the distance.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

A leaf spiral, from which boughs rise, with threads hanging obliquely downward; a leaf bough rising from the next staggered horizontal row. Both motifs in opposite direction. White stripe at left.
Superbe POELE formant meuble et décore, multipliant les tuyaux de chaleur par le même proceed que celui du No. 6; pouvant s’ajuster devant une glace; que l’on peut renvoyer par un bouton, dans une boiserie à coulisse, et qui peut découvrir une croisée, dont la situation offre une belle vue. Il est impossible de décrire tous les changemens et avantages dont ce Poële est susceptible.
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater decorated with neoclassical motifs, in the form of a framed mirror with a mantle clock on a pedestal decorated with a repeating diaper pattern of rosettes and classical figures, with by repeating pattern moldings of leaves, egg and dart, and corbels, along the top and bottom. A clock on the pedestal, decorated with the figure of the winged Father time holding a scythe, and a boy, with festoons of flowers, around the clockface. The clock is flanked by two columns, supporting an arch of flowers, with festoons of flowers intertwined, and a blank framed panel behind. The plate is signed.
Textile
, 18th century
silk; tempera Technique: painted on plain weave

Light blue-green silk with polychrome tempera painted design. Brown serpentine branches with green foliage and flowers in white, orange and pink. Green, orange and violet birds.
Sampler
, 19th century
cotton Technique: cross stitch on plain weave

Portions of border designs, alphabets and signature embroidered mainly in red, black and shades of blue. Three lines of verse above signature:
Que me lo sepa volber
Y si no sabe mi nombre
aquí lo va a poner
Collar
, mid-18th century
silk, metal thread Techique: embroidery on plain weave; edged with metal lace

Long collar made of pieces of embroidery, lined with white silk and edged with metal lace; the embroidery shows flowers in colored silks and bands and ornaments in metal thread.
Ceiling in Handrian's Villa
, ca. 1780
Graphite, pen and ink on paper
Drawing

Portion of a ceiling shown. At the lower right corner, a square with a candelabrum. This is flanked by a wide band of grotesques with nude women over tablet with birds and baskets. At upper left corner, a figure with two horns and zodiac symbols.
Tray with Man on Bridge near a Pagoda
Henry Chawner, British, 1764 – 1851, 1790–91
silver
tray

Oval tray with raised edge. Repoussé chinoiserie scene of man on bridge near a pagoda. Four flat, curved feet.
Frieze with Birds, Flowers, Wreaths and Scrolls
Theodor Bang, German, 1575 - 1630, ca. 1600 - 1617
Engraving on white laid paper
Print

Horizontal rectangle showing a symmetrical grotesque design composed of scrolling arabesques and two birds holding a banner between their beaks.
Old Farmhouses
Eugène Edouard Soulès, French, 1811–1876, 1833
Graphite, black crayon on paper
Drawing

A well is at right in the foreground. Written below at left: "Gauspach. 1833".
Mountains and Lakes, Mexico
Frederic Edwin Church, American, 1826–1900, April 1892
Graphite on beige wove paper
drawing

Landscape sketch showing a loosely rendered view of mountains and lakes in Mexico. In the middle distance, the surfaces of a series of lakes are visible beyond an unrendered foreground. In the background behind the lakes, two mountain ranges form a serrated horizon. The foremost range is darker, while the rearmost is taller and has several sharp peaks.
Rocaille Ornament Designs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white laid paper
Print

Rocaille ornament design motifs featuring scrolls, rinceaux, branches, dripping verdue. The plate is signed and numbered.
Embroidered picture
, 19th century
linen and colored glass beads Technique: embroidery and beadwork

Panel of linen with colored beads sewn to form a picture of a landscape with a man sitting in a chair and a dog.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On a green-gray ground, almond-shaped cartouche with foliate, spiral, and other decorative patterns.
Overdoor Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two overdoor designs. The overdoor on top features a lozenge at the center with an image of a pair of doves in the center. Two lit torches cross behind the lozenge, while baskets of fruits frame either side. The overdoor below has a large oval vase with crossing snakes as handles, and a bouquet of flowers emerging from its mouth. The plate is signed and numbered.
Ornament Panel Design
Nicolas Pierre Loir, French, 1624 - 1679, 1660–1716
Engraving and etching on paper
Print

Ornament panel design with a central cartouche of a woman with putti, quiver of arrows, and a smoking urn or vase, framed by winged women, putti wearing masks, shells, monkeys, foliate scrolls, rosettes, scrolling leaves (rinceaux), vase, and a festoon of leaves. The plate is numbered.
Galerie métallique des grands hommes français (Great Men of France)
Raymond Gayrard, French, 1777 - 1858, 1817
Cast bronze
Medal

Bust of Pierre Jeanine.
Autumn, Lunette for Ceiling of the Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Reclining winged putto grasping grape vine.
Plan du Confident
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plan for the "Confidence" couch (1921-6-331-26) with details of joinery and carving. The plate is signed and numbered.
Chair
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Above is the  chair, seen from the front, the legs and the fore part of the arm being omitted, at right. The seat is upholstered. The back is high oval with straw plaiting supported by the upper part of the back legs. The arms begin above, at the back, and end in the upper part of the front legs which have the shape of two calices, one in the other. Below and at right are two sketches for the curved arms. On the reverse is part of the architectural plan with the letters "C", "f, and the caption, written by the artist: "Loggia e sotto / stalla". Usual background.