biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Equestrian Monument of Charles III
, 18th century
Pen and brown ink, brush and blue-gray watercolor on cream laid paper
Drawing

Design for an equestrian monument of Charles III. The male figure seated upon his horse, whose front legs are raised and hind legs are anchored to a pedestal below. Upon the base of the pedestal is a mounted plaque with horizontal lines indicating inscribed text. At the base of the statue is an array of objects including military armor and helmets, a drum, a cannon, and flags/banners. Beyond the statue is a colonnaded arch opening onto a scenic landscape view. Above, an escutcheon supported by angelic figures and putti.
Band
, 18th century
linen Technique: bobbin made continuous tape with bars added

Scrolls and leaves held in place by bars with picots.
Pitcher
, 17th–18th century
Enameled glass

Blue glass footed pitcher with yellow and red painted decoration; pear-shaped vessel with semi-circular handle at neck.
View of Japan
Robert Frederick Blum, American, 1857–1903, 1891
Graphite, pastel crayon on wove paper
Drawing

Recto: Sketch of a bridge with boats in the foreground; Verso: Sektch of a female figure.
Strapwork Design
, ca. 1650
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for vertical panel with strapwork, putti and swags.
Wooded Hills
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil on canvas
Drawing

Landscape sketch showing a loosely rendered view of wooded hills beneath a warm sky with clouds. In the foreground, rolling terrain leads to a range of hills covered with trees in the middle distance at left and right. A single tree is visible at center. A green, rolling landscape is shown in the background beneath a warm-toned sky with pinkish clouds.
Virgin and Child with God the Father and Angels
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1647–50
Etching on paper
Print

In a setting of classical ruins, four angels adore the Child Jesus, behind whom the Madonna kneels. At the right in the sky is God the Father, and at the left in the sky two flying cherubs hold over their heads a ribbon which is inscribed "GLOR[IA] IN E[X]CEL[SUS]."
Trimming
, 19th century
silk Technique: woven

Red trimming fragment in a design of a conventionalized flower placed alternately up and down and separated by chevron bands; border in pattern of triangles.
Sunset and Mountains, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of stormy, sunset skies above a lush mountainous landscape in Jamaica. Green prominence in foreground is backdropped by purple mountains in middle distance. Above, tumultuous storm clouds are illuminated yellow, orange, and red by the light of the setting sun. At upper right, green and blue gradation of the sky is visible.
Rank badge
, Ming dynasty, 1368–1644
silk, metallic yarns Technique: plain weave with discontinuous wefts (tapestry or k'ossu), open slits

Most of a Ming dynasty Sixth Rank square showing a pair of egrets with spread wings arched across a gold sky filled with brightly colored attenuated cloud streamers. Birds are white with the characteristic slender head plume, yellow beak, feet and eyes, with pale green details. Cloud bands are white with shades of blue, pale green, yellow and vermillion on a gold metallic ground.
Button
, 19th century
pearl shell, copper and glass

Circular buttons with central brilliant of white glass set in copper on a disc with engraving in design of many-petalled flower within border.

On card 29
Design for a Necklace with Alternative Suggestions
, late 18th century
Pen and black ink, brush and gray watercolor on paper
Drawing

Jewelry design for a necklace. The chain and the upper part of the pendant consist of blossoms, respectively disks, connected by crossed scrolls of ribbon with disks, respectively with and without a scalloped motif. Hanging, below, on a knot: a framed drop, à jour. Beveled corners.
Playing card
, ca. 1855
Red and black ink, paper

Card numbered at top: C 4 S; below central image: 1
Table mat
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: bobbin lace

Linen cover with hemstitching, bobbin lace edging and central panel of bobbin lace showing two Indian motifs (two braves with bows and one paddling a canoe).
Elevation and Plan of Wash Basin and Mirror in Carrara Marble
, early 19th century
Pen and black ink, brush and yellow, gray and blue wash, graphite on wove paper
Drawing

Elevation and plan of a washstand with mirror.  On either side are two pedestals each with a ceramic vase and an amphora sitting on top.
Floral and Fruit Ornament Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Five ornament designs with floral and fruit arrangements, including foliate branches, flowers, fruit, a basket and vase of fruit and flowers. The plate is numbered and signed.
Band fragment
, 700–1100
Technique: 1. Plain weave, paired warps, single weft; 2. Weft-faced plain weave, unpaired warps; 3. Plain weave foundation (warp single, weft single), supplementary wefts in weft-faced plain weave on paired warps, branched warps between sections 2 and 3; Sides: cut; Ends: one intact (warp selvage covered by stitching)

Fragment of a band
Le Chateau des Tuileries du còté du Pont Royal a Paris (Tuileries Palace next to the Pont Royal in Paris)
Chez Daumont, active 18th century, 
Hand-colored etching on paper; verso: fabric
Bound print

Perspective view of Tuileries Palace in Paris, shown from across the Seine. The palace is shown obliquely, with two long wings extending to the left and right from a central building. The windows of the palace are cut out. The Pont Royal, scattered with figures and carriages, stretches diagonally from center to the left side, connecting the palace with the riverbank in the foreground. Groups of figures, including peddlers, dogs, and men on horseback, populate the riverbank.

Verso: Two small patches of fabric, red and orange. Print label: Palatium Regium des Tuileries a Ponte Regio Parisiis / 70e VUE D'OPTIQUE Représentant / Le Chateau des Tuileries du còté du Pont Royal a Paris. / A Paris chez Daumont rue St. Martin.
Plate 4, from Die Folge der phantastischen Schmucksträße (Suite of Fantastic Ornamental Bouquets)
Wendel Dietterlin the Younger, German, active 1610–1614, 1614
Etching on laid paper
Print

Octagonal; two grotesque birds flank the plant; symmetrical architectural arabesque motif with creatures.
Designs for Gun Parts and Ornament
François Marcou, French, 1595 – 1660, 1657
Engraving on laid paper
Print

Designs for gun parts (flintlock and ornament) decorated with grotesque ornament, mascarons (masks), fantastical animals, fish, dolphins, figures, terminal figures, flowers, scrolling leaves (rinceaux), foliate scrolls, fleurons, and a seascape on the sideplate of the central flintlock with water, putti, ships, and a figure playing a harp while riding a dolphin. The plate is signed and numbered.
Mountain River or Lake
Winslow Homer, American, 1836–1910, 1897
Brush and wash, chalk, graphite on paper
Drawing

Recto: View of a sloping hill with a male figure, seen from behind, seated on two fallen pine tree trunks and also framed by two live pine trees in center foreground, before a vista filled by a mountain river (or lake) surrounded by hills covered with burned trees; Verso: Patches of various colors.
Upper part of chair
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Upper part of chair.
Clouds and Mist over the Sea, Mexico
Frederic Edwin Church, American, 1826–1900, February 1893
Graphite on light brown wove paper
drawing

Seascape sketch showing a view of clouds and mist off the coast of Mexico, likely in the Gulf of Mexico near Veracruz. Dark, rippling ocean water extends from the foreground to the low horizon, where a distant ship is minimally visible at right. Billowing, energetic clouds comprise the rest of the composition and faint into invisibility toward center and the upper margin.
Christ Taking Leave of His Mother
Marc Antonio Raimondi, Italian, 1483 – 1527, after 1506
Engraving on paper
Print

In right foreground stands Christ, his head turned to left and looking at Mary, seated, facing right. Behind her, two women. In left mid-distance, an opened gate; at right, a garden fence. In left background, a castle, at right: mountains.
Desseins de Cartouches et D'Agraffes
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

First state of designs for cartouches and cane handles. See 1921-6-285-97.
Trimming
, 19th century
silk Technique: woven

Woven heading with loops on either side. On one edge, heading is scalloped with multicolored loops extending below it.
Sidewall
, ca. 1820
Block-printed paper

Portion of an unused roll with figured scenes. Woman in swing hung between two trees, accompanied by man and woman on donkey, accompanied by goat and dog, pointing to ruined building in marsh. Smaller vignettes of hunters and dogs.
White, dark red and brown distemper on grey ground.
Fragment
, 19th century
wool Technique: printed

Border fragment showing cenventionalized designs in red, green, blue, yellow, on brown ground.
Design for Tablet
Carlo Marchionni, Italian, 1702–1786, 1740–58
Pen and black ink on laid paper
Drawing

The upper with the escutcheons for the coat of arms: above of the pope, below of a prelate. The other sketches include the architectural forms of the upper part of the frame, some figures of accounting. On verso, the beginning of a draft of a letter by the artist: "Carissimo amico, e Rue. Shmatissimo Verrà da Voi il mio Cognato Agostino, e vi porterà da mia parte 1(i) / quarto occhi di Gatta (jewels), desidererei in primo Luogo"…[etc.]
Two Studies of a Sentry
Winslow Homer, American, 1836–1910, 1862
Graphite on cream paper
Drawing

Two vertical studies of a sentry.
Room in a Palace
, mid-19th century
Pen and brown ink, graphite on laid paper, laid down
Drawing

Horizontal rectangle. View into high hall supported by columns, between which are niches with medallions above. Elaborately decorated ceiling.
Stage Design, Caves
, early 19th century
Pen and brown ink, brush and wash, ruled border in graphite on white wove paper, laid down on white laid paper
Drawing

Horizontal rectangle. Caves with several stories connected by staircases.
The Bean Picker
Winslow Homer, American, 1836–1910, ca. 1875
Brush and oil paint on canvas
Painting

Vertical view of a girl in a violet dress and white sunbonnet picking beans from one of a group of closely set bean plants.  Behind her, a cornstalk; more bean plants to left.
Border fragment
, 19th century
cotton, silk Technique: double weave (two woven structures interchange)

Border of medallions (four in the repeat) meant to look 'antique'.
Border
, 19th century
silk Technique: bobbin lace, blonde style

Lace showing a pattern of sprays of flowers and leaves that form a border on one edge and conventionalized flowers and leaves on the other.
Sketches for a Decorated Ceiling
, ca. 1820
Graphite on paper
Drawing

At center, a circle composed of animals and figures surrounds a chariot drawn by four horses. A second circle with figures surrounds this, in the style of a classical frieze.
Band
, 17th century
linen Technique: bobbin lace, continuous tape with net added

Band of bobbin lace, loosely worked  pattern of scrolls and floral motifs.
Button
, 19th century
Steel

1931-59-261: Flat button ornamented with parallel ridges; edge ...
Entablature of an altar in Villa Derossi
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Above are the cornices of an entablature, with, below, at left, a capital with an eagle in front, and a frieze with a rinceau springing from an acanthus calix. A lion is entwined by the rinceau. The outlines of the cresting -1789 are sketched in graphite in place of the cornices. Caption above, at right: "Villa Derossi / sotto la Cimaze del'Ara nel bosco". Unusual background.
Ornamented Furniture Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for two ornamented marquetry desks, surtouts, and a candelabrum. The plate is signed and given the lettering "A."
Fringe sample
, late 19th century
silk

Yellow fringe with tasseled ends arranged in scallops. Corded top in yellow and white.
Study for "The Fishing Party"
Winslow Homer, American, 1836–1910, ca. 1869
Graphite on tan wove paper
Drawing

Horizontal view of three men and one woman, lying on the ground before trees.
Two doorknobs
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Two doorknobs.
Developpement d'une autre Porte Dorique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for an arched door decorated in the Doric order and with a balcony above. The plate is signed and numbered.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of green chevrons between borders of yellow and white.
The Son of Marcus Cato Bring a Dagger to his Father
Felice Giani, Italian, 1758–1823, ca. 1820
Graphite, pen and ink, brush and wash on paper.
Drawing

Horizontal rectangle showing interior scene with Cato sitting upright in his bed looking sternly at his son, who sits on bed with dagger and gestures.
Shawl
, 18th century
wool Technique: tapestry weave

Shawl made of two pieces joined together and finished on the long sides with narrow green braid, and on the short sides, with yellow embroidered and fringed fabric. Pattern is red, pink, blue and green upright flowers and vines on a yellow ground.
Six chalices
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

2), 4), and 6) are in a bigger scale than the others. 1) The stem has a knob, with festoons supported by cherubim. 2) The upper part of the foot is like an angular pedestal. The stem is a baluster with a round convex foot and curned angular shaft. It supports the foot of the bowl, which is decorated with a calyx, festoons, and a band. 3) The twisted stem has a knob. 4) Upon the foot is a double row of leaves, out of which the folated stem rises. It has above a capital, upon which the foot of the bowl stands. 5) Roughly sketched. The lower part of the stem is a vase with scroll handles and a festoon. The upper end of the stem is surrounded by a row of cherubim. The bowl is decorated with festoons supported by bowknots. 6) A low foot. The lowest part of the stem is a calyx and a band with a representation. Above it stands a vase and a twisted baluster. The lower part of the bowl is decorated with cherubim above whom arches rise. Framed above by a molding. Usual background.
Fragment
, ca. 1705
silk Technique: 5-harness satin damask

Fantastic flowers in red and white.
Two Furniture Leg Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two furniture leg designs, arranged horizontally on the page. The leg on the left has a top block with a carved wreath of flowers, a flat of bound laurel leaves, and a cove with vertical acanthus. The shaft of the leg is divided in three: the top features a festoon of drapery; the middle section is fluted; and the bottom has vertical acanthus leaves. The leg on the right has a top block with an inset rosette and beading, and ionic capital flat, carved leaves in the cove, and a bead shoulder. The leg is fluted, the top third in which there is repeating bead and leaf cabling. The plate is signed and numbered.
Botanical Sketches with a Landscape View, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on white wove paper
Drawing

Landscape and botanical sketches from Ecuador showing views of hills and three plant sketches. At center and center right, a view from a hill with the roofs of two houses is visible. Summit or another hill is shown in middle distance at right. Sketch of a blooming century plant visible at left, with two sketches of an air plant and a fern above at right.
LE ZIGZAG
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 4 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In outdoor setting, two monkeys in human costume. At left, standing behind the figure at right, is a monkey wearing a feathered cap and tunic. He holds a long thin tube to his lips that he is using as a blow gun to shoot pellets at a bird in flight at upper right. To his right, a monkey on one knee holds a crisscrossing contraption to trap the bird in the air. He looks up at the bird with his mouth open and tongue hanging out. Indication of tree stump in background.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Two jars in manganese, with blue covers, Each inscribed "Bear", in black letters.
Lower end of staircase railing
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Above and below at right are a sketch and a project of two calyx balusters connected similarly to -1951. At left is the left calyx with a scroll and a blossom on top from which the neck emerges and passes between the first named designs and ends at the right edge. Colored background.
Father Time
Winslow Homer, American, 1836–1910, 1874
Recto: Graphite on off-white wove paper, laid down Verso: Grapite, brush and wash on off-white wove paper
Drawing

Recto: Horizontal view of the figure of a bearded old man with his right arm turning a grindstone, his rusty and chipped sycthe lying across a trestle, and his left foot tramping on an irregular shape which is inscribed: SPAIN.
Verso: Sailing boats.
Coconut Palm
Frederic Edwin Church, American, 1826–1900, 1853–57
Brush and oil on wove paper
drawing

Botanical sketch of a lone coconut palm, partially finished and set against a sunset sky rendered in a gradient from yellow to pink to blue.
Architectural Sketch, Beirut, Lebanon
Frederic Edwin Church, American, 1826–1900, January 1868
Graphite on white wove paper
Drawing

Architectural sketch showing a view of a tall stone structure with a prominent tower--perhaps a church or a castle--and a sketch of a floating rowboat and its shadow at lower right. Two or three cypress trees stand beside the building at left. Architectural detail visible upper right, possibly a stained glass window.

Verso: Seascape study showing a rainbow over the Mediterranean Sea with a sailboat at center. At lower left, a sketch of a figure wearing a headdress and carrying a bucket is visible.
Button
, 19th century
Silver plate on brass

Slightly convex button with heraldic devices, encircled by a chain and surmounted by a crown. Back and shank of brass. On reverse, "Dagbert and Matheissen Place Beauvau."

Component -a is on card i80
Covered Box on Stand
, 1736–1795
Carved lacquer, wood, silk

Circular red lacquer box with short circular foot and fitted circular lid, sitting on carved wooden stand; foot carved with a fret or 'lei-wen" pattern. Side of box carved with peony-like flowers interspersed with beribboned Buddhist-taoist symbols set among deeply carved buds and scrolls. Outside edge of lid carved with Eight Buddhist Emblems of Happy Augury interspersed among flowers and scrolls. Top of lid with carved landscape framed by a band of bud-like figures adjacent to inner band of interlocking geometric figures and "shou" characters.
Old Elm Top and White Birch, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 1854
Graphite on cream wove paper
Drawing

Trunk of a birch tree, growing low over a stream, and the top of an elm beyond.
Apollo and Hycianth, after Domenichino
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown wash on paper
Drawing

On verso: two studies of moldings
Metalwork Design
Caspar-Gottlieb Eisler, German, active 1707–1755, ca. 1750
Engraving on white laid paper
Print

Design for the edge of a metal plate or bowl decorated with rocaille scrolls and rinceaux. The plate is signed and numbered.
Old Cathedral at Brescia
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Interior of Old Cathedral at Brescia, stairs leading up toward apse. Three figures on stairs at left.
Fountain Design, from "Livre nouveau de douze morceaux de fantaisie"
Claude Lucas, active 1710–1760, ca. 1733
Etching, engraving on white laid paper
Print

Vertical rectangle. Rocaille design for an outdoor fountain emptying into a small pool, with shell motifs and mythological figures. Surrounded by a classical collonade, which includes two bays bordered by columns with Ionic capitals
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two plates of cartouche designs. The cartouche on the left is topped by an eagle and flanked by two draped putti. The cartouche on the right features dolphins at the bottom, and a frame of strapwork around it. The plates are signed and numbered.
Square
, 4th–5th century
Warp; s-spun linen. Wefts; Z-spun linen, Z-spun wool Technique: slit tapestry with supplementary weft wrapping

A couchant lion in a circle within a leafy frame.
Project for a Lunette
Giuseppe Bernardino Bison, Italian, 1762 - 1844, 1800–1825
Pen and ink on paper, lined
Drawing

Horizontal rectangle with design for a lunette showing two putti holding a central square with figures.
Juno
Mariano Rossi, Italian, 1731–1807, 1731–1807
Brush and brown wash, pen and ink, graphite on paper.
Drawing

Center left, Juno seated holding small temple surrounded by other various gods and mythical creatures.
Design for Clock
Lefebvre Manufactory, Tournai, 1800–1825
Pen and black ink, brush and yellow, red watercolor, graphite, on cream laid paper
Drawing

Base of clock supported by lion feet, decorated at front with octagonal panel with a bow and quiver crossed, horizontally places lyres flank panel. Two-handled vase on top of dial. At left, cupid brings a rose and chain to woman a woman in classical garb, at right.
Old US Capitol
, ca. 1830
Block-printed paper on pasteboard support
Bandbox and Lid

View of the old capitol of Washington, with other buildings; figures in foreground. Printed in olive, pink and white on yellow field.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page as well as a design for a doorwar, with the text printed in the space of the left door. Above the arched doorframe is a large cartouche with a coat of arms and winged putti. The right plate is a split design for two doorways; the left has a mascaron ornamental clasp and a carved eagle with winged putti over a horizontal pediment with scrolls; the right has a balustrade and scrolling metal-work grate above. Both plates are signed and numbered.
Monument, column and spiral staircase
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A similar elevation as in -1277 in shown at the top. The left forearm of the woman leans upon the head of the lion. Two similar groups are shown in the left centerl one of the women holds a lance. A crouching lion is shown in profile, turned toward left, in the top center. Top center: the elevation of a monumental column, below it is a section of a spiral staircase, beside, at right, its plan. Two sketches deal with the order of two spiral flights of stairs. One sketch unites the spiral with a straight flight of stairs.
The Quai des Tuileries in Paris, in 1550
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1850
Black crayon, pen and ink on light brown tracing paper
Drawing

The old mansion and the gate are shown as still appearing in 1550. Caption in ink: "emplacement des Tuileries / en 1550".