biglam/cooper-hewitt-alt-text huggingface dataset:
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including facades, aedicules, cartouches, and balustrades. Both plates are numbered, neither are signed.
Volcano Puracé and the Rio de Vinagre, Colombia
Frederic Edwin Church, American, 1826–1900, August 1853
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a view of the volcano Puracé and the valley of the Rio de Vinagre in Colombia. Extremely steep mountainsides in the foreground at left descend to the river, highlighted in white gouache, which winds through a narrow valley at lower right. A plateau with sporadic houses comprises the central and left middle distance, while rolling, mountainouse terrain extends into the background, where a smoking Puracé is visible at left. The volcano helps form a sharp, serrated horizon.
The Man at the Window
Paul-Edme Lerat, French, 1849 - 1892, 1885
Etching on vellum paper
Print

Room interior; a man stands looking out of a casement window. Inscribed: P. LeRat 1885 and signed (in pencil).
Distant Iceberg, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on paperboard
Drawing

Seascape sketch showing a view of a distant iceberg off the coast of Newfoundland or Labrador, Canada. Dark blue, rippling water extends across the foreground, through the middle distance, and into the background where it meets the greenish-yellow hazy sky. On the horizon at center left, the top of a craggy white, distant iceberg is faintly visible. At right, a gently sloping coastline is visible and extends out of frame. Closer to the middle distance at center left, a figure in a rowboat is also included.
Anneaux de Clefs
Richard de Lalonde, French, active 1780–96, 1775-1784
Etching on off-white laid paper
Print

Designs for four key tops and two key ports. The one at top left features a band of bead course and scrolling acanthus leaves; the one at top right has a radiating mascaron in the center and bands of bead course and flowers; the one at lower left has a bouquet of flowers in between a wreath of leaves; and the one at lower right has scrolling acanthus leaves. The plate is signed and numbered.
Fragment
, 17th century
silk, linen, wool Technique: two partially integrated fabric structures; plain weave plus plain weave

Light brown fragment has slender serpentine stems with pointed oval stylized leaves turning off main stem alternately right and left.
Iceberg Against the Evening Sky, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on paperboard
Drawing

Seascape sketch showing a view of a bluish-green pyramidal iceberg against a fiery sunset sky off the coast of Newfoundland and Labrador, Canada. Situated in the middle distance at center across an expanse of dark water that comprises the foreground, the iceberg is defined by a tall cone flanked by two shorter prominences at left and right. In the background, the sky glows a luminous hue of orange-pink at sunset.
Decorative Project with Prudence in Oval
Felice Giani, Italian, 1758–1823, ca. 1780
Pen and brown ink on cream laid paper
Drawing

Prudence, shown from front, seated. Head covered with helmet turned toward left. Looking glass in left hand. Snake winds around her right forearm.
Design for Elevation of a Window Case
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Black chalk, brush and brown watercolor on laid paper
Drawing

Pilasters are projecting laterally consisting of slopes, wolf heads carrying rings with tassels in their mouths and of top parts of regular pilasters. A half semi-circular pediment is on top of the central part of the entablature showing a cherub in the field. Two wings of curtains and half figures of a man and a woman conversing are showing in the window. Scale at the bottom.
Niagara Falls from Prospect Point, New York
Frederic Edwin Church, American, 1826–1900, probably 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of Niagara Falls from Prospect Point on the northern side of the American Falls. The nearby cliff edge with some vegetation and right and two trees at left, stretches across the foreground. Beyond, the undulating edge of the American Falls extends from the foreground to the middle distance, where it encounters the heavily wooded Goat Island. Terrapin Tower is visible at center, perched on the bulging edge of Horseshoe Falls, which curve towards the tree-covered Canadian bank that comprises the horizon in the background.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1908
Pen and ink, brush and wash on paper
Drawing

Symmetrical composition of cartouche displaying elements of battle. At top, urn with leafy arrangements flanked by horns, flags and banners decorated with tassels. Eagles at either side of cartouche, arabesque design below. Framing outline.
Coupe et Profil de la Salle de Bal
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Cross section of a design for a ballroom with a central rotunda surrounded by Corinthian columns topped with urns. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
Valley in the Alps
Frederic Edwin Church, American, 1826–1900, June–September 1868
Brush and oil on white paperboard
Drawing

View of steep hills sheltering a small valley, devoid of heavy vegetation.  Low-lying clouds glow pink in the sunset.  Dark hills rise in the left foreground.
Medallion
, 5th–7th century
warp: paired S-spun linen; wefts: S-spun linen, S-spun wools; linen backing Technique: plain weave with discontinuous weft (slit tapestry) with supplementary weft wrapping Label: linen in-woven with wool slit tapestry

Tapestry medallion depicting a a male and a female figure facing each other. Each appears to be raising a goblet. Figures are woven in white, blue, green and yellow on a red ground.
Design for trophy of arms
, 1730
Pen and ink, brush and watercolor, graphite on laid paper
Drawing

A helmet with a horse tail at the center of the design.
Sugar Tongs
William Esterbrook, English, active 1817 – 1834, 1826–1827
silver, gold
sugar tongs

Flat, shaped strip with openwork oval medallions of three feathers of the Prince of Wales. Engraved with leaves, acorns, and arms; goat's head above a shield with a glove. Ends in the shape of acorns.
FONTAINE DE LA PORTE ST. DENIS / FONTAINE DE LA CHARITÉ / FONTAINE DES PETITS PERES NOIRS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Three fountains decorated with classical motifs, shells, mascarons (masks), rustication, and a relief sculpted panel with a woman and putti (middle fountain). Taps open with water streaming from each fountain. Landscape with buildings in the background with figures. A scale below the middle fountain. Each fountain is titled.
Panel
, 4th–5th century
Warp; s-spun, teo ply Z-twist. Wefts; S-spun linen, S-spun wool. Texhnique: slit tapestry with supplementary wrapping and supplementary wefts forming pile.

Bands of pile at top and bottom with a band of purple tapestry in the center. Selvedge at left.
Embroidery sample
, late 18th–early 19th century
silk thread, silver wire, glass, paper Technique: embroidered on a compound foundation

Floral pattern embroidered with white silk, clear and purple glass and silver wire on a vertically striped blue and black ground.
Temperance and Two Winged Angles
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and brown wash, over traces of black chalk on white wove paper
Sketchbook folio

Verso shows the battle of Parma.
Imaginary Landscape with Classical Ruins
Frederic Edwin Church, American, 1826–1900, 1868–75
Pen and brown ink, graphite on off-white wove paper
Drawing

Landscape sketch showing an imagined view of a dramatic, mountainous landscape with classical ruins. In the foreground, several standing figures face the view as they cast long shadows behind them. A figure riding a horse or donkey is visible at left, beneath a group of tall trees that partially block a view of the sun behind them. These trees also frame a view of a classical rotunda and several standing columns at center. In the middle distance at right, an arched bridge spans a river or lake, as mountains rise abruptly at right. In the background at upper right, an erupting volcano spewing smoke is visible across a range of shorter mountains below it. Some puffy clouds hang in the sky at upper right.
Furniture mount
, 19th century
Gilt bronze

Standing figure of naked Venus under long, flowing, arched scarf, riding the waves on a shell pulled by two dolphins.
Design for an Urn
, 1775–1800
Graphite, pen and ink on paper
Drawing

Elevation of an urn decorated with three women, side handles and masks.
Sketches
Carlo Marchionni, Italian, 1702–1786, 1725–50
Pen and ink on laid paper
Drawing

A woman carrying a tray, shown from the right back. Top right: jug with sphinx cover. Half figure of a cleric shown from the back, passing beneath a gateway.
View of a Bridge
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Here is a scene of people gathering on a bridge. It appears that two people, covered from head to toe, are the focal point. Everyone else is circling them. In the background are blue and yellow clouds covering the city. Darker blue clouds loom ahead on top of the print.
The North Dome, Yosemite, California
Thomas Moran, American, b. Britain, 1837–1926, 1872
Brush and black wash, white gouache, graphite on tan wove paper
Drawing

Vertical view of jagged rocks in foreground with rushing stream leading back through pines on valley floor to the North Dome of Yellowstone.
Carrying cloth
, 600–1000
red wool with white cotton Technique: plain weave with continuous supplementary warp and weft patterning Label: wool plain weave with supplementary warp and weft patterning

Carrying cloth of loosely woven, overspun wool yarn, in red, possibly dyed with cochineal, with a geometric pattern in white cotton.
Three Putti
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Three putti sitting together amongst foliage and fruit. The one to the right holds palm branches, the one in the foreground plays a small flute, and the other putto behind plays the tambourine. The plate is signed and numbered.
Uncut handkerchiefs
, ca. 1870
cotton Technique: block printed and resist printed on plain weave Label: block printed and resist printed cotton

Rectangular panel with two uncut handkerchiefs printed on it. The field of each handkerchief has an overall pattern white hexagons filled with foliate elements in brown, with white borders with a red and brown flowering vine motif.
Two Studies of a Kneeling Man
Raimundo de Madrazo, Spanish, 1841–1920, 
Graphite and white chalk on paper
Drawing

Two studies of a nude kneeling man for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
Vase
, 17th–18th century
Enameled and glazed porcelain

Designed with "famille verte" decoration. Tall oviform vase with flared neck; the sides with two oblong reserves depicting figures harvesting tea; in a speckled green ground with vases and lotus blossoms centering character medallions; the neck with small floral reserves in a latticed green ground.
Fragment
, late 15th–early 16th century
linen warp, cotton weft Technique: block printed on 1&3 (S) twill

Pineapple or artichoke pattern in a heavy ogival framing device, printed in black on a yellow-gold ground.
Cup and Saucer
Sèvres Porcelain Manufactory, French, established 1756, 1779–1787
porcelain (probably soft paste), vitreous enamel, gold
cup and saucer

Short, cylindrical cup (a) with scroll handle; light blue enamel and gilded decoration consisting of overlapping semi-circular fan motifs with blue centers and gilded parallel lines, and narrow bands of gold oak leaves on blue diaper ground at mouth and base. Saucer (b) with everted rim decorated en suite with cup.
Two Turkeys in a Landscape
Jean-Baptiste Huët, French, 1745–1811, 1772
Etching and engraving (crayon manner) in red ink on paper
Print

Two turkeys in a landscape with trees and shrubbery. The plate is signed, dated, and numbered.
Dress
, 18th century
silk, metallic threads Technique: embroidered silk

Beige figured silk richly embroidered in silk and metallic threads in a floral and strap work design.
Border
, 19th century
silk Technique: chain stitch embroidery

Wide border of tan-colored silk embroidered in a floral pattern and detached allover floral sprigs. Colors are faded and now are dull red, blue and gold.
Border
, 17th century
linen Technique: plain weave with a gauze cross to create an openwork pattern

Border fragment woven in a geometric openwork pattern that resembles lace.
Sketch of Fortuna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Possbily a design for a ceiling. The goddess riding above figures, holding a wheel and staff. Verso: Octagonal plan, with sketches, and list of gods and goddesses.
Fortitude, Design for a Stained Glass Window
Francis Augustus Lathrop, American, 1849–1909, ca. 1890
Brush and watercolor, white gouache, graphite on tracing paper
Drawing

Tall, vertical composition with top arched. Center, female figure standing facing slightly left, a column in her left hand. Foliage left and right. Cross and large rosette, above. Fortitude written on base, above two panels with flowers.
Hercules Capturing Cerberus
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. Hercules, at right, dragging the three-headed monster Cerberus, held fast by means of rope. The flames of Hades in the background.
Fragment
, 17th–18th century
linen Technique: bobbin lace

Binche-style fragment with scrolling stems with blossoms and leaves. "Cinq trous" ground.
Cleopatra Pleading with Caesar
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brown wash, over black chalk, ruled border in pen and brown Support: thick white wove paper
Drawing

Male figure, dressed in Roman military garb, stands at right, gesturing to female, seated on a throne adorned with the figure of sphinx, at left. Both appear before large curtain, in a vaulted architectural setting. A pyramid is seen in far distance.
Portrait of Michael Ophovius, Bishop of Sylva
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing an elongated skull cap and beard. Below, his escutcheon and motto, and inscription.
Design for Portion of Stairway in Château-sur-Mer, Newport, Rhode Island
Charles Salagnad, French, 1872
Brush and ink and watercolor, graphite on paper
Drawing

Horizontal rectangle. North wall of stairway, with stairs rising from main story level at right to landing at left. Scheme of panelled wainscoting surmounted with simulation of tapestry by painted sacking.
Sleeve fragment
, 18th–19th century
linen or cotton, wool Technique: embroidered

Sleeve embroidered in tightly spun black wool. Stylized flower and bird design, small doves carrying olive branches in their beaks.
Escutcheon
, ca. 1650
Tin

Pierced and repoussé plate with foliage designs.
Band
, 16th century
linen and silk Technique: damask weave

Narrow band of linen, twill weave with pattern in red silk of confronted stags on either side of a fountain.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller on plain weave; glazed

Three samples with same ground and same or similar designs in different colors. A) Ground striped in green pin stripes clustered into different width bands,  shaded, and with very fine vine pattern in broader band. Pattern of flower clusters in violet-printed over ground design. B) Same ground with smaller flower clusters. C) Tan ground, small flower clusters in violet. Glazed. Ground effects probably "molette."
Fragment
, 18th century
linen Technique: bobbin lace, Binche style with no ground

Binche style with areas of snowballs.
Textile
Jean-Baptiste Huet, French, 1745 – 1811, 1780–1790
cotton Technique: printed by engraved copper plate on plain weave

Textile printed with red on white showing country scenes.
Album Containing two Series of Tailpieces and Fleurons
Jean-Jacques Bachelier, French, 1724 - 1806, 1760–62
Album

Album containing twelve plates from two series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine.
Brillion Collection
Robert Graves Co., New York, New York, 1905–1915
Machine-printed paper, mica flakes
Frieze

Flitter frieze containing swags of roses hung from acanthus leaf candelabrum, with a border of bead-and-reel pattern. Printed in pinks, greens, tans and gold mica flakes on a background that shades from tan to green.
Sidewall
, ca. 1780
Block printed on handmade paper

Arabesque on blue ground, features basket with flowers and peacock feather surrounded by figure eight. Full repeat visible.
Interior with a Man Reading at His Desk
A. L. Leroy, 1827
Charcoal stumped, black and white chalk on tan wove paper mounted on paperboard
Drawing

This large charcoal drawing shows a man seated at his desk, reading a document. A tole lamp in the Empire style gives off a bright light. A small child appears to be feeding paper into the fireplace; a tea kettle is placed above. White fringed shades are drawn to the tops of the windows, which are dressed with a swagged valance on a pole. There is a partial view of a striped carpet in the foreground.
Design for a Dining Table of Mahogany with a Flower Vase
A.N. Davenport Co., 1900–05
Pen and black ink on thin, cream paper
Drawing

Round molded table with dividing stretcher center raised on columnar support over elaborately carved molded base; 4 carved ball-and-claw feet; at center, vase with bouquet on doily.
RECUEIL DE NOUVEAUX ORNEMENTS Composés Dans le Gout le plus Moderne Destinés a être Executés en Or, Argent, Cuivre et autres Metaux DÉDIÉ A MESSIEURS Les Orfevres, Fondeurs et Ciseleurs Par leur très Humble et très Obeisant Serviteur Mondhare
Clément Pierre Marillier, French, 1740 – 1808, 1763
Album

Album of ornament prints - designs for metalwork including ecclesiastical objects, bronze mounts for furniture (escutcheons or keyhole plates), andirons (firedogs), candlesticks, vases, wall lights (wall sconces), a mantle clock, lectern, and designs for putti. A title page followed by titled and unnumbered plates, a few are signed.
Bowl
, ca. 13th–14th century
Glazed earthenware

On slight foot a slightly curved bowl of coarse whiteish clay, the lower part unglazed. Slight pinkish white glaze on upper outside and on inside; in center a bird painted in red and gold, in two red circles; at edge block script in red and gold. Black scrolls completing decoration; black lines forming arches on outside.
Study of seascape
William Stanley Haseltine, American, 1835–1900, ca. 1855
Brush and wash, graphite on paper
Drawing

Sketch of a coastal cliff and rock formation.
Pump, inscribed "The Boyer. Chicago Pneumatic Tool Co."
Barstow & Williams, ca. 1890
Silver
Matchsafe

In the shape of a cylindrical pump, inscribed "The Boyer" on one side, "Chicago Pneumatic Tool Co., Chicago, Ill." inscribed on the opposite side. Upper part or handle opens as lid, hinged on back. Small striker on bottom tip.
Fragment
, 16th–17th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a plain weave foundation

Fragment of cut and uncut dark green velvet in a pattern of leafy sprigs and barrettes on a yellow ground.
The Antikamnia Calendar, January and February, 1897: The Diagnosis
Louis Crusius, American, 1862 - 1898, 1896
Chromolithograph on paper with string binding
Calendar

January and February, 1897.
Sketchbook Page: Figure
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of the head and left shoulder of a boy.
Band
, late 16th or early 17th century (possibly 19th or 20th century)
linen, black glass beads Technique: punto in aria needle lace

In center, an oval medallion surrounded by floral forms. Medallion shows coat-of-arms of the Mainenti family of Vicenza. Pattern connected by brides picotées.
Sampler
Margaret Collier, late 17th century
silk embroidery on wool foundation Technique: embroidered

Design referencing the life of Charles II (29 May 1630-6 February 1685) who hid in an oak tree in 1651 during Oliver Cromwell's leadership of Republican England. Alphabet, numbers, monograms, and flowering vines. Sampler reads: "Children obey your parents in the Lord for this is right." 
Also, "Do not your mind to any show/ Nor let your friend your/ Sorrow know/ For when your friend becomes your foo/ Then all the world your mind shall know."
Signed: "Margaret Collier Aged Eight Years."
Embroidery for pattern only, except in scenic panel where it covers the entire surface.
Border
, mid-18th century
Technique: tape lace

Tape lace sample, floral vine; mid-18th century Flemish, mixed.
Unfinished Sketch of Two Tall Trees
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Horizon line with rough sky above it. On horizon at left, simple sketches of two trees.
Textile
Schwartz-Huguenin, 1851–63
cotton Technique: printed by engraved roller and/or block printed on plain weave; glazed

Three pieces, same design, different colors. A) Ground printed, probably by "molette," in two shades of grey in minute zig-zags; darker shade forming trellis pattern. Small flower clusters in rose with green foliage and shadowy grey foliage, printed within trellis, probably by block. B) Same design but ground slightly blue-grey. C) Same design but ground in yellow. Glazed.
Folding Knife with Engraved Floral Decoration and Lion Cartouche
, ca. 1700
silver, steel
folding knife

Sabre-shaped blade. Handle straight-sided, flaring towards the end. Engraved floral decoration with a lion in the cartouche on front and back. Diamond-shaped pattern along the sides. Blade folds into handle.
Academic Study of a Male Nude
Giuseppe Longhi, Italian, 1766–1831, 1790–1830
Black chalk on white paper
Drawing

A bearded male nude is seen standing, facing frontally, with his arms raised over his right shoulder.
Waistcoat
, ca. 1795
silk, cotton Technique: knotted net over silk 4&1 satin, cotton lining

Men's double-breasted waistcoat with high standing collar, cut straight at the waist.  Waistcoat is patterned with stripes, and is comprised of the colors brown, peach, and cream.   There are seven worked buttonholes down front, with a row of matching silk covered buttons on either side. It is lined with unbleached cotton.
Sampler
Mary Follet, 1802
silk embroidery on linen foundation Technique: plain weave foundation; cross, stem, chain, running, and surface satin stitching

Two scenes containing twelve figures plus animals within a floral border.  Bottom reads "Mary Follet Her Work aged 12 years 1802."
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, ribbed, liquid mica

Rococo inspired ceiling paper with bold pattern of bold, asymmetrical foliate c and s-scrolls and floral sprays. Scrollwork is printed in tones of yellow and gold, floral sprays in muted greens. Khaki ground.
Ceiling Design with Doves and Flower Garlands, possibly for the Entrance Hall
Frederick Crace, English, 1779–1859, 1815–22
Brush and watercolor, pen and gray ink, graphite on white wove paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Painted sky ceiling with two doves with flower garlands center, grey margins.
Comb Case with Wig and Lice Combs
, 1671
tortoiseshell, paint
comb case

Retangular case (a) with engraved decoration of floral borders surrounding a coat of arms with "IAMAICA" etched above and "1671" below; one large toothed comb (b) with engraved floral decoration along top and sides; double-sided comb (c), fine teeth one on side, large teeth on the other, engraved floral decoration on sides and center panel. Floral engraving and coat of arms picked out with white pigment; word and date with red-orange pigment.