biglam/cooper-hewitt-alt-text huggingface dataset:
Elevation of a Bed Alcove for Philippe, Duc d'Orléans, The Regent
, 1715–1723
Pen and Chinese ink, brush and watercolor on paper
Drawing

Frontal elevation of an arched bed alcove, flanked by pilasters decorated with urns on brackets. In the center, a medallion within a wreath showing a bishop bistowing his blessing on a group. In the center of the enclosure, the lower centre are the Regent's arms.
Panel Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, mid- 18th century
Etching on paper
Print

Design for an ornamental panel, possibly an overdoor panel, featuring a large pedestal, cartouches, winged putti, festoons of leaves, scrolling leaves, c-scrolls, and shell motifs, flowers, foliate branches and treillage (trellis). The plate is signed.
Medallion or Frame Design
Théodore Bertren, active in France, 18th century, ca. 1771
Etching on laid paper
Print

Design for an oval medallion or frame featuring foliate branches, flowers, ribbons, and fleuron, c-scroll clasps. The plate is numbered and signed with the artist's monogram.
Bracelet
, mid-19th century
Gold, enamel

Hinged bracelet with clasp opening on a slide; shape of a ribbon: green, white, red, dark and light blue and yellow enamel on chased gold, in a one-loop bow on part of the bracelet.
Monkey
Robert Frederick Blum, American, 1857–1903, 1891–1892
Graphite on wove paper
Drawing

Four sketches of a monkey.
Niagara Moonlight
Frederic Edwin Church, American, 1826–1900, September 1858
Graphite on white wove paper
drawing

Landscape sketch showing a view of Niagara Falls by moonlight, as seen from below the falls themselves. At right, water cascades vertically into the river below, sending up a plume of mist. In the lower right corner, nearby rocks are loosely rendered. In the distance at center, the opposite site of the curving falls is visible. At upper center, the moon presides over the scene.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of decorated lozenge shapes; scalloped edges.
Seated Man
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie prints depicting figures in landscapes with garden canopies in the form of large parasols. A man with a stick stands on a platform looking at a hanging textile with the title lettered in the center. The title banner hangs from a large pole with two circular decorative rings above with hanging garlands of flowers. Trees, flowers, and foliage in the background. The plate is numbered, signed, and dated.
Letter H, from Baluze's "Histoire générale de la Maison d'Auvergne"
Sebastien Leclerc, French, 1637–1714, 1707–08
Etching with engraving on white wove paper
Print

H before a Jerusalem cross and the crown of thorns.
Wooded Ridge and Leaves, Italy
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and botanical sketches showing a view of a wooded ridge with olive trees that stretches across the upper portion of the composition, while, at lower right, a sketch of a pile of leaves surmounted by cross is shown. 

Verso: Loosely-rendered landscape sketch showing a view of a rectangular building with a tree on a small elevation in front of it. At left, the building's flat facade fetaures several windows while, at right, the tree grows at a slight angle.
Scrollwork and Vegetal Cartouche in Landscape, Plate B
Alexis Peyrotte, French, 1699–1769, ca. 1740
Engraving on paper
Print

Scrollwork and Vegetal Cartouche in Landscape, Plate B
Three-Arm Candelabrum
Valentijn Casper Beumke, German, active The Netherlands, 1726 - 1782, 1766
silver
candelabrum

1926-37-130-a/h: One of a pair of identical three-arm candelabra in...;     1926-37-131-a/h: One of a pair of identical three-arm candelabra in...
Festival
Ando Hiroshige, Japanese, 1797–1858, 18th century
Woodblock print in colored ink on paper
Print

This summer print shows a crowded street full of people and fans. The front shows a tilting festival structure, known as a mikoshi. Men chant to keep rhythm as they parade this heavily ornamented shrine down the street. People celebrating and observing the scene climbed the roof to get a better view.
Tea Caddy
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1740
hard paste porcelain, vitreous enamel, gold
tea caddy

Rectangular, with short cylindrical neck. Sides decorated with landscapes and figures, including seaport and skating scenes. Narrow gold border. On top, two dragonflies. Cover, with two harbor views, gold knob handle and broad gold band.
Strapwork Design
, early 17th century
Charcoal, pen and ink, brush and watercolor, white heightening on paper
Drawing

Strapwork design with winged sphinxes and figures in niches surrounds a lobed reserve.
Button
, mid-19th century
brass

1931-59-303-a: circular, flat buttons ornamented with design of t...
Elevation of the Belmont Menagerie, Newport, Rhode Island
Whitney Warren Jr., American, 1864–1943, ca. 1894
Graphite, brush and brown, black, green, blue, red, and yellow watercolor, white gouache, on thin cream illustration board
Drawing

A colorful proposal for Oliver Belmont's monkey house. The building is to be a three-story structure with a central observation tower, and two flanking wings, here presented in a verdant landscape.
Approaching Mt. Hor
Frederic Edwin Church, American, 1826–1900, February 23, 1868
Graphite and white gouache on tan wove paper; verso: graphite
drawing

Landscape sketch showing the rocky, rugged mountains in the range near Mt. Hor in present-day Jordan. A sharp, precipitous peak is visible at center. Numerous rocky pinnacles and canyons are shown throughout the surrounding desert landscape. In the background, distant mountains are faintly rendered.

Verso: Landscape sketch showing Mt. Hor and the rugged ridge of which it is a portion, in present-day Jordan. Hills in the middle distance lead up to an abrupt and rocky ridge. Layers of rock strata are visible throughout a sharp, craggy prominence at far right and in another cliff face at left. Contour of ridge sharp and uneven.
Band
, 1700–1750
silk on silk Technique: needlework on gauze weave

Multicolored embroidery on brown gauze weave in a pattern of flowers on curving and angular stems.
Fragment
, 13th century
silk, metallic Technique: two interconnected plain weave structures (lampas) Label: silk and metallic lampas

Fragment of woven silk with a design of off-set squares, each containing a rosette or star in brilliant blue, green, red and gold, on an ivory ground. Part of the Cope of San Valero, formerly in the Cathedral of Lérida, Spain.
Two Studies of a Bugler
Winslow Homer, American, 1836–1910, 1862
Recto: Graphite on cream paper Verso: Grapite, brush and gray wash on cream paper
Drawing

Recto:  Vertical full-length view of a bearded soldier, in cap and uniform, facing left and blowing a bugle with his right hand, while holding a sword in his left hand. Beside this study to the right is another three-quarter length view of solider, slightly larger in scale and turned to right.  

Verso:  Horizontal scene of an army camp with campfire and three soldiers in foreground; wagon train, wagons and mules in background.
Panel Design (Right Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

A design for an ornamental panel, pasted to the right of another design. The design features rococo and chinoiserie (in the Chinese style) motifs with an ornately decorated frame featuring, drapery, canopies, leaves, shells, feathers, c-scrolls, a dragon, bows and arrows, flowers, fleurons, and rinceaux. In the center, two male figures seated within a fantastical landscape with a bird in the middle. The plate is signed and numbered.
Design for a Cartouche Representing an Allegory of the Painter
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

An artist wearing a hooded smock is seated in front of an oval canvas, a long brush in his left hand. A figure, at left, appears to be preparing paint over a coal oven. A bottle and other containers are below. A bust of an animal is at top right.
Vase en plomb bronzé de la piece de Neptune à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase from Neptune's Fountain at Versailles. The body of the vase is decorated with a bearded mascaron with a shell motif above his head and two griffins on either side. There are frieze motifs with acanthus and gadroon ornament. The handles are in a scrolling form with snakes wrapped around them. The description is lettered on either side of the foot, with a scale below. The plate is signed.
Textile
, late 19th century
cotton (and possibly linen) Technique: plain weave; Z/Z twist

Yarn-dyed woven pattern of small red, blue, and white checks.
Design for the Elevation of the Porte S. Denis
Martin Marvie, French, 1713–1813, ca. 1750
Engraving on paper
Print

Plan and elevation. Inscribed upper right, Line "V. No. IV, Planche 1/2"; lower right: 310 and 311".
Two Sofa Designs
Richard de Lalonde, French, active 1780–96, 1849–66
Etching on paper
Print

Two designs for upholstered sofas with carved frames featuring feathers, quivers of arrows, and urn finials, birds, flowers, leaves, fluting, and tapered legs. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Façade du Château de Lunéville du côté de la Cour.
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Facade of the castle at Lunéville, from the side of the courtyard. At the bottom, near the open gates, is a scale bar of "6 Toises."
Sidewall
, 1750–99
Leather, painted, varnished, stamped

Perched bird on a gold background; bunch of pink and green foliage in upper left corner.
Icebergs in the Distance, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on paperboard
Drawing

Seascape sketch showing a view of three distant icebergs floating on the open ocean beneath a tumultuous and colorful cloudy sky, somewhere near the coast of Newfoundland and Labrador, Canada. The ocean's brownish-blue waters extend to the horizon, where they are more brightly colored in a shade of light blue. On the horizon at far left, three craggy icebergs are rendered in a shade of creamy yellow and separated by equal distances. Above, a grey, cloudy sky is partially colored pink by the light of the rising or setting sun. Paint is freely and expressively applied throughout.
Imaginary Landscape with a Boat
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and dark brown ink on off-white laid paper
Drawing

Landscape sketch showing a view of billowing clouds over a watery landscape that hosts a small sailboat. A grass shore extends across the immediate foreground along the lower margin. A tree with some other foliage is visible at right. In the middle distance at center, a small sailboat floats on water that reflects the light and shadow from the clouds above. At upper left and right, two towering cumulus clouds frame a view of a bright, open sky.
Fender
Giuseppe Barberi, Italian, 1746–1809, ca. 1795–1800
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

At left is a bowl containing fire supported by two ram chimerae, standing in profile, and connected by a short joint. Over it hangs a garland, the far end of which lies on the back of a crouching lion, at right. he is turned toward right. usual background, with the indication of smoke which rises behind the lion.
Design for a Trophy
Mathurin Cherpitel, French, 1736 – 1809, 1755–68
Etching on laid paper
Print

Design for a trophy hanging from a leafy garland. The trophy features a lyre, garland of laurel leaves, sheets of music, an architectural plan, sculpted bust, ruler, and hanging medals with profile portraits.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1351, the plan of the structure being circular. The figure on top probably similar to 1938-88-1301, without the angel.
Buttons
, 1852–70
Brass, pewter and silver foil

Crowned eagle, wings outspread, resting on bar; five arrow-tipped lighting bolts and one star beneath - words "Garde Imperiale".

Component -a is on card H
Component -c is on card B, was not originally labeled with component
Sketch, Seated Allegory in Architectural Setting
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and wash, black chalk on paper
Drawing

Sketch, Seated Allegory in Architectural Setting.
Lit à la Francoise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed with a canopy over the head of the bed. The canopy is decorated with a curtain of rosettes and tassels, wave pattern, lozenges with rosettes, ribbon twirl, garland, and a central portrait medallion of a woman. The plate is signed.
Les Portiques d'Athenes
Dufour et Leroy, ca. 1820
Block-printed on machine made paper, applied border
Scenic panel

One of a series: Hill in background; church with square tower in middle distance; in foreground, fountain with two women and a child. Architectura lborder in yellow and blue.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1325, with proportions laying stress upon the height. On top is a variation of 1938-88-1323. Inside similar to 1938-88-1327.
Buildings and Figures at as-Samu, Palestine
Frederic Edwin Church, American, 1826–1900, February 17, 1868
Graphite on white wove paper; verso: graphite
Drawing

Landscape, architecture, and figure sketch showing a view of stone buildings and a group of people in as-Samu, Palestine. A complex of interconnected stone structures inhabits the foreground, with an arched passageway at lower left that leads to another arch, partially visible in the middle distance at center. A house top is visible at right, while a group of individuals wearing headdresses gathers atop a kind of mound or domed structure at upper center. In the background, a mountain range is faintly rendered.

Verso: Architecture sketches showing carved details from the Eshtemoa Synagogue in as-Samu, Palestine. At upper left, a recessed, scalloped, and semi-circular niche is bordered with ornate, carved decorations. At right, a wreathed medallion is shown on a flat vertical surface with carved, crisscrossed details. Along the lower margin, the contour of a baluster or other architectural detail is included.
Croisée en plate bande avec soupirail
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for casement windows with an awning supported by brackets of scrolls and acanthus leaves, and featuring a well at the base. At left is the profile of the window. The plate is signed
Frieze
William Burges, 1827 – 1881, ca. 1875
Block-printed paper

In each band, confronted dogs with surround of conventionalized foliate scrolls, medieval in character; above and below, simple bands of geometric ornament. The design repeats on a center of 53.1 cm in the direction of the run of the paper. Printed in blue and green on green ground. Two bands of same design, one above the other, intended to be cut apart and hung separately.
Title Page and Designs for Candlesticks and Console Tables
Henri Sallembier, French, ca. 1753 - 1820, 1778
Etching on laid paper
Print

Title page and designs for two candlesticks flanking two console tables featuring neoclassical motifs including, cartouches, fluting, festoons of flowers, scrolling leaves (rinceaux), flames, drapery, snakes, frieze of foliate scrolls, rosettes, vases, arrows, and hearts. The plate is titled, numbered, dated, and signed.
Fragment
, 18th century
silk, metallic Technique: woven

Serpentines and floral bouquets on striped background.
Alpine Landscape
Frederic Edwin Church, American, 1826–1900, June - August, 1868
Oil and graphite on tan paperboard
drawing

Landscape study showing a view of a nearly vertical mountainside with a tall, sharp peak looming above it, likely located in the Bavarian Alps. In the foreground, a conifer tree frames the scene at right. The middle ground consists of a precipitous, rocky slope that leads to a wooded ridgeline. Above, a rugged, pyramidal pinnacle is visible in the background beyond the ridge.
Frieze
, ca. 1890
Hand painted in oil pigments on canvas

Hand painted. Side view of a nymph enframed in a garlanded rectangle supported by a frieze of cherubs. On either side are columns supporting female busts. Across top a horizontal band of flying swans, masks, across bottom a band of linked rectangles and trefoil arches.
Design no. 533 for an Embroidered Vertical Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1785–1790
Graphite, brush and gouache on paper
Drawing

A bunch of flowers, the main bough being a rose on dotted ground beside and partially open, a vertical stripe at left.
View of Toche, Colombia
Frederic Edwin Church, American, 1826–1900, July 1853
Graphite on tan wove paper
Drawing

Landscape sketch showing the view of a mountain valley near the Colombian town of Toche. Rocks and mixed vegetation visible in foreground and left. Roofs of human-made structures visible just beyond. River and trees serve as focus of middle distance, with wooded slopes rising on all sides. Form of a cross--whether intentional or accidental--is visible center left.
Title Page
Jean-Bernard Turreau, French, 1672 - 1731, 1716-19
Etching on laid paper
Print

Title page with the title lettered on a draped textile over a monument/ plinth, held by putti with flying putti on either side holding a coat of arms and a set of scales. The ornament features an oval profile portrait, gadrooning, vase finials, mascaron (mask), and fleurons. Arms and armor on either side - helmets, shields, spears with flags, horns, and quivers of arrows. The plate is signed.
The Flight into Egypt: A Night Piece
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1651
Etching and drypoint on laid paper
Print

At right scene: Joseph, carrying a lantern, leads the donkey bearing the Virgin and the Child. Figures move toward the lfet. Signed, lower right: "Rembrandt f. 1651."
Sidewall
, 1885–95
Block-printed paper, textured

End of a roll, giving complete width. Long-tailed birds, in flight and perched on slender branching stems bearing small leaves, flowers and stalks of seed pods. Printed in gray and white on blue ribbed ground.
Tablet bearing the coat of arms of Pope Benedict XIV with shell as background
Filippo Marchionni, Italian, 1732–1805, 1740–58
Pen and ink on paper
Drawing

Two angels sit near the foot of the escutcheon; a cherub below crosses point of the keys.
Almanac for 1789
, 1788
Engraving, brush and watercolor on paper
Print

Calendar for second half-year, with three scènes galantes; harvest, vintage, sledge party.
Keyhole escutcheon
, early 19th century
Gilt bronze

Lyre and scrolls.
Design for a Woven Fabric, Fragment
, 1815–1825
Brush and gouache on oily tracing paper
Drawing

A bunch of flowers. Three seeds and a part of a blossom are shown at right.
Panel Design (Left Plate)
Bellay, French, active from 1734, ca.1734-49
Etching and engraving: counterproof on laid paper
Print

A counterproof of a plate 2 from this series (1921-6-490-16). A design for an ornamental panel, pasted to the left of another design (counterproof). The design features rococo and chinoiserie motifs with ornately decorated frames featuring leaves, sprigs, palm leaves, c-scrolls, feathers, rinceaux, canopies, drapery, fleurons, rosettes, and vases. In the center two figures sit on a garden wall with a vase, a bird in the foreground within a fantastical landscape. The plate is numbered.
House at a Railing with Beached Dories
Winslow Homer, American, 1836–1910, 1881
Pen and brown ink on tan laid paper
Drawing

Horizontal view of a life brigade house and railing shown at left with three beached rowboats in front. Figures visible inside house looking out to turbulent sea at right.
Clouds
Frederic Edwin Church, American, 1826–1900, September 1848
Graphite on light brown wove paper
drawing

Meteorological sketch of bands of puffy clouds, likely in the skies over Vermont. Lightly and hastily rendered.

Verso: Mixed sketches showing two views of trees and another of sheep in a meadow in Vermont. At left and oriented to the left, an elm tree is sketch sticking out of a mass of billowing treetops. At upper center, a flock of numerous sheep rest together in three groups in a meadow, with a tree loosely rendered in the distance at right. At lower center, a fallen tree or one that grows horizontally is shown at right beside loose treetops at left.
Bash-Bish Falls, South Egremont, Massachusetts
Daniel Huntington, American, 1816–1906, July 18, 1859
Graphite, white chalk on grey wove paper
Drawing

Vertical view with a group of four picnickers sitting in foreground on a rocky ledge before a pool of water and cascading waterfall. Jagged boulders, massive rocks and trees surround the falls. The location of this scene is Bish-Bash Falls, South Egremont, Massachusetts, situated in the Berkshire mountains.
A Valley in Mountainous Country
Eugène Edouard Soulès, French, 1811–1876, 1793-1877
Graphite on paper
Drawing

A lake is in the middle ground. Behind it are the ruins of a medieval castle on top of a hill. Mountains rise at left and at right. Brown framing line.
Design for a Woven Fabric, Fragment
, 1815-1840
Blue, green, rose, yellow, and black gouache on oily tracing paper, mounted
Drawing

A flower spray rises from the lower end of a leaf scroll. A curved bough with leaves is stuck through its point.
Fragment
Favre Petitpierre, France, 1802–1818, early 19th century
cotton Technique: printed on plain weave

Group of five figures consisting of three seated women and a standing man and child are shown on a path near a low wall. Buildings are in the distance. In red on white.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk Technique: cut and voided supplementary warp pile (velvet) in plain weave foundation

Sample of a wide ribbon with a black taffeta ground with a black cut velvet design of realistically-drawn climbing rose sprays.
Textile
, 1830s
cotton Technique: roller printed (red) and relief printed (blue and brown) on plain weave

Red and blue birds perch on flowering branches against a light tan ground.
Textile
, ca. 1860
wool Technique: block printed on the warp face of 5-harness 4x1 satin

All-over pattern of regularly spaced roses of various sizes in reds, yellows, and greens on a deep maroon background. Half-drop repeat.
L' Abreuvoir
Jean-Baptiste Huet, French, 1745 – 1811, 1790–95
cotton Technique: copperplate printed on plain weave
Textile

Assorted pastoral scenes including a couple dancing to a lute player and a horse drinking from a well. The line where the plate stops is just above the dancing couple and lute player. Lengths would repeat as a half drop repeat when sewn together. Edge of plate is visible at right.
Sampler
, 18th century
cotton on cotton Technique: satin, running, back and a looping variation on plain weave foundation; counted stitches

31 bands of geometric patterns in red and blue.
Designs for Ornament and Cases
Pierre Bourdon, French, ca. 1656 – 1708 after, ca. 1703
Etching and engraving on paper
Print

An ornament print featuring roundels, part of a base or plinth with a boy seated on a globe and holding a glass and bottle atop, a bottle (etui), and a male figure seated at a table and smoking a pipe. The designs feature grotesque motifs (intertwining scrolling leaves, foliage, human and animal forms), with cartouches, flowers, mascarons (masks), and birds. The plate is signed and numbered.