biglam/cooper-hewitt-alt-text huggingface dataset:
LE CHASTEAU DE VILLERS-COSTE-REZ
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the chateau of Villers-Cotterets from the garden with a fountain in the foreground within an octagonal basin with jets of water, flanked by formal parterre planting and trees. Beyond steps leading up towards the Renaissance-style chateau with buildings beyond. Figures throughout the gardens. The plate is titled with a description below.
Design for a Salon Wall
, ca. 1760
Pen and ink, brush and watercolor, graphite on paper
Drawing

An alcove with curtains and a sofa between niches with pedestals.
Elevation of a church
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink (bistre), brush and brown wash, red ink on lined off-white laid paper
Drawing

The facade has two stories, and is flanked by two projecting steeples of three stories. In front of the center of the arcades, forming the ground floors of the steeples, stand pedestals with statues. The corners of the lowest of the steps. leading up to the church are beside the pedestal. The central parts of the stories of the facade are a gateway and a window, respectively. Laterally are arcades, each section having three intercolumniations. A dome rises in the center. Colored background.
Textile
, 18th century
silk embroidery on linen foundation Technique: embroidered in darning stitch on plain weave

Panel made from three widths of fabric joined with embroidery; each width ornamented with three strips of tan and brown silk embroidery in leaf patterns.
Creamboat (One of Three)
Caughley Porcelain Factory, English, 1755 - 1814, 18th century
soft paste porcelain, vitreous enamel
creamboat

Creamboat with high foot and scalloped edges. Chinoiserie cobalt decoration .
Fragment
, 15th century
silk, metallic Technique: 4&1 satin patterned by 3/1 twill

Christ and Mary Magdelene beneath a tree. Partial horizontal repeat including Mary Magdalene.
Basin of the Obersee, near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June 1868
Graphite, brush and white gouache on brown wove paper
Drawing

Landscape sketch showing a view of the lake known as the Obersee near Berchtesgaden, present-day Germany, and the towering alps that surround it. At lower center, the still surface of the Obersee extends from the foreground and into the middle distance, bounded by heavily wooded shores. In the middle distance at left and right, steep, nearly vertical mountainsides frame a view of the Röthbachfall--a tall, narrow waterfall just south of the Obersee, here highlighted in white gouache at center. In the background, the serrated ridges of nearby alpine mountains are crowed in puffy clouds. The towering pinnacle-like peak at upper center is that of the Teufelshörner. 

Verso: Landscape sketch showing a view of the lake known as the Königssee near Berchtesgaden, present-day Germany, and the towering mountains that surround it. At left, a heavily wooded and nearly vertical mountainside descends into the lake at lower center. At right, a similar steep ridge extends obliquely into the background, where three rounded peaks are visible.
Proofs of four plates of "Alfabeto in Sogno" [Dream Alphabet]: Letter K
Giuseppe Maria Mitelli, 1634 – 1718, 1683
White laid paper with red brayon
Print

Central image of a man fettered to a tree trunk forming the letter K with additional drawings of six feet and a shell.
Four Ornamental Frame Designs
, 18th century
Etching on laid paper
Print

Designs for four rectangular frames decorated with ornament motifs including rinceaux, scrolls, garlands, architectural motifs, winged mascarons, putti, and vases. The frame at lower right has a winged bull, a winged, a winged lion, and eagle, and an angel, symbols of the four Christian Evangelists (Matthew, Mark, Luke, John). A radiating dove is at top center.
Studies of Calves, Stockbridge
Samuel Colman, American, 1832–1920, July 8, 1876
Brush and watercolor, white gouache, graphite on brown paper
Drawing

Two studies of calves, one on top of the other. Above, a calf lying on the grass, shown from the back with its head raised to right. Below, a sleeping calf with its head placed between the legs. The landscapes are sketched in each study. Verso: A standing calf, obliquely shown from the head.
Tassel
, 17th century
silk on linen core

Tassel with a skirt of gold-colored silk threads partly covered by a trellis of twisted threads of same color; collar of cut threads topped by a knob covered with silk threads in twill pattern. Cord of braided silk threads.
Upper Plate: Essai de Balustres dans le gout Antique
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

A sheet printed with two plates illustrating designs for balusters with neoclassical ornament. Each design is lettered with a description along the right sides. The plates are titled, numbered, dated, and signed.
Panel
, 16th–17th century
linen, silk Technique: embroidery and needle lace

Squares of embroidery on plain weave alternate with needle lace.
Gazebo
Unknown, Italian, 1815–40
Pen and black ink, brush and pink, red, organge and green watercolor, black chalk on paper
Drawing

Design for a gazebo.  The octagonal pavilion stands on a square platform, to which steps lead on every side.  The pavilion has a dado.  Columns support the entablature; their capitals are connected by festoons.  Statues stand in the intercolumnar spaces.  The walls of the pavilion and the slanting roof show Gothic details.
Sketch, a Table
Giuseppe Barberi, Italian, 1746–1809, ca. 1780–1785
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The left half is executed. The support: a bunch of branches. Two curves meeting in a point are the lower edges of the frame, decorated with a row of pointed archves and a rosette in the center. Below is a row of sketches most likely referring to monuments.
LE PONT ST. MICHEL
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the bridge the Pont St. Michel in Paris with the river Seine in the middle. The bridge is lined with buildings and there are buildings along the sides of the river. The river is filled with barges and boats. People in the boats and on the streets. Details are lettered with an explanatory legend below. A history/ description of the bridge is lettered below. The plate is titled and signed.
Cap fragment
, ca. 1825
cotton Technique: applique on machine-made net

Round piece for a cap with muslin applique on white net.
Looking South, Mount Mansfield, Vermont
Daniel Huntington, American, 1816–1906, September 7, 1864
Graphite, black and white crayon on grey paper
Drawing

High rock ridge, center, and stunted trees, lower left. Rocks, lower right, with mountains far beyond, upper right.
Design for a Gate Leading into a Courtyard
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Iron strapwork gate with a pillar affixed with an elderly man draped in a cloak (Winter). Through the grate, another archway can be seen, with a cartouche held aloft by a winged angel at the top.  A graphite inscription in the margin indicates that this is the door leading into the three courtyards of the Charterhouse in Rome. The plate is signed and numbered.
Ceiling Design for the Consecration of Numa, Sala di Numa Pompilius, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and brown wash over black chalk on white laid paper
Drawing

An augur lays his left hand on veiled head of Numa who kneels on stand before altar. At left, crowd points to appearing birds.
Königssee Tree, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, July 16, 1868
Graphite and white gouache tan wove paper
drawing

Botanical and landscape sketch showing a detailed view of a deciduous tree that grows out of a massive boulder near the Königssee in Bavaria, present day Germany. Dominating the composition at center, the tree's writhing roots twist around boulder's cracks and crevice before submerging themselves in the soil below. Above, the tree's lower boughs and branches are almost entirely leafless. The bumpy, undulating form of the rocky outcropping cradles the tree on all sides.
Developpement d'une autre Porte Ionique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for an arched door decorated in the Ionic order and with a balcony above, decorated with rosettes, lamb tongue, vases, and floral trophy. The plate is signed and numbered.
Man in Fur Cap
Ludwig Knaus, German, 1829 - 1910, 1884
Etching on china paper, laid down
Print

Bust portrait of a middle-aged man with long hair and wearing a fur cap. His glance is directed down to the right. Inscribed, left side: "L. Knaus '84".
Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching on laid paper
Print

Designs for allegorical, mythological, and ornamental figures for use in heraldic achievements. With one heraldic achievement upper center, with a device in the shield, supported by a crown and angels. The designs include angels of victory, musicians that are half-man half-c-scroll or acanthus leaves. Dogs chasing a deer in the lower right. The plate is numbered.
Portrait of John Laurian
Carlo Gregori, Italian, 1719 - 1759, 1754
Engraving on paper
Print

Two sides of a medal: the top side shows a portrait in side view inscribed. Bottom side shows seated Athena writing.
Design for Motifs for Woven Fabrics
, 1825–1850
Brush and lateritious yellow, purple gouache on oily tracing paper
Drawing

Top left: a square with two intertwined pointed ovoids with Gothic filling motifs. Top center: probably a copy of an ovoidal plate of the late 16th century with three birds and boughs in heart-shaped panels; in a cross scheme showing a head in the center. Top right: motif composed of four squares with two intertwined pointed ovoids each. Bottom left: four fleurs-de-lis stuck through a circular band. Bottom right: motif composed of a circle from which four tree palmettes rise; a lozenge and a cross in the center.
Purse
, 19th century
glass beads, metal Technique: beaded knitting

Knitted bag with colored glass beads in a design of a rose with forget-me-nots in an eight-pointed star on a blue ground; finished at bottom with blue bead fringe and at top with a metal frame ornamented with cut-out floral designs and engraving.
Wine Bottle Cooler (Seau à Liqueur)
Mennecy Porcelain Manufactory, French, active 1735 – 1773, mid- 18th century
soft paste porcelain, vitreous enamel
wine cooler

Circular body, with ogee rim forming two shell handles.  High foot.  At rim, molded shells and scrolls in purplish red.  Sides with polychrome flowers and molded tongue-and-dart ornament around the base.
Sidewall
Walter Crane, English, 1845–1915, ca. 1890
Machine-printed paper

Very stylized blue tulips, white tulips and acanthus leaves forming cartouche. Light blue design in background. Appears to be printed on ungrounded paper. Art nouveau in style.
Woman's bodice or jacket
, late 18th–early 19th century
Technique: block printed

Long-sleeved bodice made from a densely patterned printed floral fabric. Design has different types of flowers in red, blue, yellow, and white with leafy stems on a black ground patterned scattered with tiny green sprigs. Center front panel has a different fabric with a design of tiny pink flower heads with leafy stems. Bodice is lined with pieced fabrics, some plain white and others in red, black, and white floral patterns.
Panel
, 16th–17th century
silk, metallic yarns Technique: embroidery on supplementary warp pile (velvet) foundation, with woven tape edgings and fringe

Vertically symmetrical pattern of scrolling lines in gold silk and metallic yarns on a dark blue velvet ground. Long edges finished with woven tape and short ends with long knotted fringe.
Band
, 17th century
linen, silk Technique: stem stitches tightly pulled to create openwork in plain weave; warps and wefts in groups of three

Four fragments of a band with a repeating pattern of a curved vine in reserve on a natural colored ground with a red embroidered background.
The Sarcophagus
Hubert Robert, French, 1733 – 1808, 1810–29
Etching on paper
Print

A landscape with a sarcophagus sculpted in low relief with a battle scene and mascarons (masks) on a plinth with an inscription, and a large pyramid in the background. Two men standing while another man sits on the steps leading from the sarcophagus. The plate is numbered. This plate was originally numbered 6 when it was first published in 1763-64.
Hia Theo ou Escalve Chinois
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

An older woman kneeling in a landscape with her head turned to the right. She is taking care of a plant in a pot. Trees and clouds in the background. The plate is signed, titled, and numbered.
Study of a Bearded Man
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of an older bearded man's head. The man's wavy hairline is receding. He is pictured in profile looking to the right, his neck and shoulders are suggested with a few lines. The plate is signed and numbered.
La foire du Caire (The Cairo Fair)
Petitpierre et Cie, Nantes, France, 1770–1848, 1785–90
cotton Technique: printed by engraved copper plate on plain weave
Textile

Scenes of an Egyptian bazaar. In red on white.
Satyr Family with an Obelisk, plate 11 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number
Cap streamers
, 18th century
linen Technique: bobbin lace, Brussels style

Cap streamers with a design of butterflies and urns formed from flowers.
Border
, 19th century
linen Technigue: bobbin lace, peasant style

Border worked in bleached and unbleached thread, edged with pointed bobbin lace.
Fragment
, 1750–1800
silk Technique: plain compound weave with discontinuous supplementary weft (brocaded)

Polychrome umbrella-like flowers and amorphous shapes on white ground.
Textile
, 19th century
cotton on piña cloth (pineapple fiber) Technique: embroidered

Square piece of fabric possibly a shawl end or sleeve panel embroidered in a design of a plant in a basket alternating with a leaf and scroll motif. Narrow bobbin lace border on three sides.
Cap streamer
, early 18th century
linen Technique: bobbin lace, Brussels style

1967-46-40-a: Cap streamer worked with rococo bands and floral f...;     1967-46-40-b: Cap streamer, worked with rococo bands and floral ...
Picture
, 1870–1890
silk Technique: plain weave with supplementary weft brocade

Picture woven in black and grey depicts a medieval gate and fortress with figures in the foreground in eighteenth-century attire.
An Attack and Lodgement on the Covert Way, from Twelve of the Most Remarkable Sieges and Battles in Europe
Carington Bowles, British, 1724 - 1793, ca. 1760–1770
Engraving on paper
Print

Soldiers are seen throwing up an earthen bulwark before a town. Inscribed below: "An ATTACK and LODGEMENT on the COVERT WAY", followed by a two-line description, and below: "printed for and Sold by Carington Bowles, at his Map and Print Warehouse, No. 69 in St. Paul's Church yard, London". Inscribed in the upper right corner, the number "3".
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on brown paper
Drawing

Drapery extending over upper left arm of figure, facing frontally.
Fringe
, 17th century
gilt foil on a silk core Technique: woven

Gold fringe with a plain-woven heading a skirt of twisted loops.
Drawing
, 1625–50
Red crayon, pen, brush, sepia. Paper

Horizontal rectangle. For the lower part a painted architecture is intended, with half columns supporting an entablature and framing in the center a door through which one has a view into the adjoining room, and at the sides panels. For these are suggested, at left: a niche with the statue of a sitting man; at right: the imaginary transformation of the panel into a small room with three statues of standing figures. Above the projecting parts of the entablature are shells, the remainder of the upper part of the wall being divided into panels below which a decoration in the form of tapestries is projected: a central plant with, beside, symmetrically, two fighting (?)? half-figures.
Drawing
Felice Giani, Italian, 1758–1823, 
Pencil. Pen, ink. Sepia wash. Paper

Ugolino gets up leaning with his right hand upon the back of the crouching Roger. Beside whom his cross lies. Dante speaks to him from behind a cleft in the ice wall. Virgil leans beside him, having put his right arm around Dante's shoulder.
Fragment
, ca. 1850
cotton Technique: printed on plain weave

Ground of dark and medium purple stripes patterned with small dots and vermicelli. Over the stripes is a design of red and white circles and curlycues.
Altar frontal
, 18th century
linen Technique: needlework on knotted net

Altar frontal with central design of a sunburst containing the letters "IHS" with a cross extending upward. Stylized geometric pattern surrounds with central motif.
Fragment
, 18th–19th century
silk Technique: supplementary warp forming cut and uncut raised pile in a satin foundation (velvet)

Brown cut and uncut velvet, on ice-blue satin ground. Miniature serpentine
Frieze
, 1575–1600
Pen and brown ink, brown wash, black chalk Support: white laid paper
Drawing

Horizontal format. Left half of a section is shown. Entablatures at the bottom and at the top. A row of brackets is shown in perspective is included in the top entablature. A trophy of arms is suspended from lion mask in front of a pilaster at left. A nude girl is suspended before an escutcheon and a pilaster at right. Reverse: old collectors numbers: no. 101; ''318'' (?), ''No 5'', ''No 17''
Sense of Sight
Paul Scarron, French, 1610 - 1660, mid- 17th century
Brush and tempera on linen
Drawing

Panel of natural colored linen plain cloth painted in polychrome tempera, showing one of the series of five senses. Figures of a man and woman seated at left. Winged putto at center offers a mirror to the woman, who is combing her hair. A blue and white vase of flowers at right. Verses from Scarron's poems, in French and Latin, at bottom.
Ornament
, 19th century
Silver gilt

Convex circular ornament w/ central boss surrounded by 6 smaller bosses & 6 raised flower forms.
The Watermelon Boys
Winslow Homer, American, 1836–1910, 1876
Brush and oil paint on canvas
Painting

Horizon. rectangle. Field: in foreground two negro boys and one white boy, eating slices cut from a watermelon that lies before them. On right, receding, a broad fence. Blue range of hills across background.
Fragment
, 16th–17th century
wool Technique: stamped (embossed) on plain weave

Irregular red fragment with floral pattern.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. Diagonally placed zig-zagging lines alternating with lines formed by connecting diamonds.
Fragment
, 18th century
silk

Flowering sprays with bird and butterflies on green satin.
Fragment
, late 17th century
linen Technique: bobbin lace, Brussels style

Small border fragment, linen, Point d'Angleterre à Brides. Pattern of fruits; floral shapes connected by brides. Modes: portes and maille à cinq trous.
Study for a Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Charcoal and red chalk on cream wove paper
Drawing

Cartoon, probably for a mural. Female figure, standing, looking to the right, holding ball in her left hand. Pinholes following lines of figure and drapery.
Wood engraving, vignette
, 1800–1830
Engraving and etching

Crouching sphinx on meadow, on right.
Landscape With Two Figures in a Road
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A road runs through a thick woods. At the edge of a clearing two figures are seen approaching up a steep, low hill on the road. An open vista at left.
Fragment
, 17th century
silk, metallic Technique: supplementary warp with cut and uncut pile (velvet) on plain weave foundation faced with metal.

Pattern of plant forms set on crescents. Selvage on right.
Trimming
, 18th century

Fringe?
Fragment
, 17th century
silk Technique: cut and uncut supplementary warp pile in a satin foundation (velvet)

Animals, birds, and plant forms in brownish-purple on yellow. Selvage with green and white edge at left.
Collar
, 17th century
linen Technique: bobbin lace (continuous tape like bobbin lace) with needle ground (ground is loop and twist with twist return)

Collar formed from pieces of seventeenth century Milanese lace joined by needlework.
Design for Rose Window, St. John the Baptist, Brooklyn, NY
Leon Dabo, American, 1868–1960, 1905
Brush and watercolor, graphite on beige paperboard
Drawing

Design shows quarter-circle with half-length figure in roundel in center holding tablet. Border roundels of quatrefoil design and circles. On axis of circle, IHS within sunburst.
Tile
, late 16th century
Glazed earthenware

Portion of a design composed of strap-work, painted in blue, yellow, green, brown, and violet.
Puppet
, late 19th century
Painted papier-mâché, woven cloth

Black hat with tricolor cockade and long black moustache. Blue cotton flannel shirt with white collar and cuffs.
The Afton
, ca. 1900
Reds, blue and yellow on white-printed ground.
Sidewall

Full width, giving slightly more than one repeat. Bands composed of wide green and narrow white stripes, enclosing alternating white bands set with wide and narrow serpentine vines with flowers.
Reds, greens, blue and yellow on white-printed ground.
Fragment
, late 17th–early 18th century
silk, metallic yarns Technique: damask weave with supplementary weft patterning (brocaded)

Fragment of taupe silk damask in the 'Bizarre' style, showing a design of meandering scroll with florals brocaded in metallic yarns and colored silks. One selvage present.
Sampler
Matilda Roper, 1837
silk, cotton, wool Technique: embroidered

Embroidered sampler with black and red stitching on light brown linen. Four alphabets with numerals fill the top section. Inscription below:

Jesus permit thy gracious name to stand
As the first efforts of an infants hand
And while her fingers oer the canvas move
Engage her tender heart to seek thy love
May she with thy dear children bear a part
And write thy name thyself upon her heart

Matilda Roper August 16 1837 in the 8th year of her age
Died October 19th 1837
A Salon in Restoration Taste
Hilaire Thierry, French, active 1815–1825, early 1820s
Brush and watercolor, gouache on white wove paper
Drawing

Detailed elements of the Empire period are executed by the artist. Buff walls banded in blue serve as the color scheme of the salon and the adjoining room.Heavily swagged curtains with fringed pelmets, blue upholstery, and a blue and gold tablecloth accent bare, highly polished floors. An overdoor panel carved with figures appears to have a bluish ground. A picture collection in heavily gilded frames lines the walls. A marble statue of Apollo Belvedere on a pedestal and a bronze clock flanked by candelbra in the form of a winged victory on the chimneypiece are similar to decorative elements used by Percier and Fontaine at Malmaison and Fontainbleau. A tea table set with porcelains and metalwork of the period is on the right.
Model for Spiral Staircase
, 19th century
pear (wood)
staircase model

Spiral staircase model with two revolutions.
Sample Plate
The Elite Works, French, ca. 1870 – 1930, late 19th–early 20th century
hard paste porcelain, vitreous enamel
plate

Sample plate with shades of green and magenta.
Border
, ca. 1850
Block-printed and flocked

Printed five across, tacked gimp or passementerie, printed in flock and gold. Contains strung beads against a blue background.
staircase model
, mid–late 19th century
mahogany, oak

Semi-circular staircase model.
No. 104
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown crystal, cut and polished
Water glass

Mouth-blown crystal, deeply-cut and polished