biglam/cooper-hewitt-alt-text huggingface dataset:
Hash
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top, short story on hash. Bottom, various animas and objects walking in a line from upper right to lower right into hash machine. Profile of older woman, facing left, cranking machine, lower right bucket. Machine labeled.
Design for a Frieze
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Horizontal frieze with symmetrical grotesque decoration. At center, a vase with florals. Scrolling rinceaux with birds and putti.
Ceres asks Jupiter for Return of Proserpina
Felice Giani, Italian, 1758–1823, 1812
Pen and brown ink, brush and brown washes over traces of graphite on light brown paper
Drawing

Ceres shown kneeling before Jupiter throned.
Mount
, ca. 1820
Bronze

Two putti kissing, with terminations in acanthus rinceaux.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. The disk above and the drop below are connected by a knotted ribbon with two flower stems at either side and a round gem at center.
Design for Embroidery, Gentleman's Waistcoat Pocket
, ca. 1785
Brush and watercolor, gouache, and graphite on cream laid paper
Drawing

Design for a man's waistcoat or gilet pocket featuring pink and purple flowers with green and brown leaves. A pink flower is positioned in the center of the pocket flap. Below the center of the flap two pink flowers appear, with a purple flower on either side. Flowers also appear to the left of the pocket flap. Purple edges delineate the waistcoat pocket and pocket flap.
Plan et élévation d'une porte d'Hôtel
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Plan and elevation of a mansion door decorated with carved wave pattern and meander, and an overdoor with rondel, putti, garland, and mascaron. At the top is a crowned coat of arms with fleurs-de-lys. The plate is signed.
Design for a Brooch
, ca. 1790
Pen and black ink, brush and red, gray watercolor on light blue paper
Drawing

Jewelry design for a brooch in the form of a sunflower. In the center, a red diamond with a face. Smaller round and teardrop-shaped diamonds and petals radiate outwards.
Door Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, 1755–76
Etching on laid paper
Print

A design for a set of double doors with an overdoor painted panel with rococo ornament featuring shells, cartouches, masks, herms, festoons of flowers, ribbons, rinceaux, c-scrolls, fleurons, acanthus leaves, and panels. The plate is numbered and signed.
House in Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1880–85
Brush and oil, graphite on paperboard
Drawing

Landscape and architecture sketch of an ornate home with a tower in Hudson, New York. Centrally placed, the house is flanked by groups of lush trees while a green, slightly shadowed, and lawn spreads before it in the foreground. Oil sketching gives way to graphite along the left, bottom, and lower right margins, where the creamy color of the paperboard is visible.
Troisieme Livre de Cartouches
Jacques de Lajoüe, French, 1687–1761, 1740
Engraving on white laid paper
Print

Title page cartouche in which is written: TROISIEME/LIVRE de CARTOUCHES/Inventez par J. de la Joüe Peintre/Ordinaire du Roy/DEDIE/à Monseigneur Loüis Anthoine/de Pardaillan de Gondrin Duc/d'Antin Pair de France, Chevalier des Ordres/du Roy, Lieuten.t Général de ses Armées et/de la haute et basse Alsace, Gouverneur et/Lieutenant General pour sa Majesté des/Villes et Duché d'Orleans et Païs Orle/anois, Directeur General des Batim ts/et Jardins Arts et Manufactures de/France./Par son tres huble et tres/Obeissa.t Serviteur/G. Huquier. The arms of the Duc d'Antin flanked by two Indian figures are displayed at the bottom of the cartouche. At right (middle background), the construction of a palace. At left, a wall with standing statue and steps.
Miroir
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a mirror elevated on scroll feet decorated with ornament motifs including a crowned cartouche, sprays, shells, leaf garland, scalloping, and rinceaux. The plate is signed and numbered.
Angels Bearing Symbols of Martyrdom, Study after Domenichino
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brown wash, over traces of black chalk Support: white heavy wove paper
Sketchbook folio

Upper drawing of two angels and seven putti atop clouds bearing various symbols--wreathes, banner, palm, book, and banderole with inscription. Lower drawing of seven musician angels on clouds with instruments with choir in background.
Riche Diligence montée sur des Ressorts en C.
Janel, French, active 18th century, 1760-1790
Etching and engraving on laid paper
Print

Design for a stagecoach with images showing the profile, the face of the carriage, and a detailed diagram of the spring mechanism. At left, is a key of the plan for the design. The stagecoach is richly decorated with painted scenes of putti on clouds and carved with ornament motifs including ribbon twist, rosettes, urns, and lamb tongue. The plate is signed and numbered.
Rocaille Border Designs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white laid paper
Print

Designs for rocaille ornamented borders and cartouches for doorways or mirrors. The plate is signed and numbered.
Fragment
, 17th century
linen, cotton Technique: plain weave with supplementary weft

Supplementary blue weft floating alternatively face to face forming a design of lion (?) and birds.
Landscape; verso: Grotesque Design
, early 17th century
Charcoal, pen and ink on paper
Drawing

Recto: In the foreground, a group of trees, beside which are two children. View of a town beside a river in mountainous country. Verso: A strapwork frame with a term figure supporting a basket.
Rebecca and Eliezer at the Well
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580–1605
Recto: pen and brown ink, brush and brown wash on laid paper Verso: pen and brown ink, brush and brown wash over black chalk on laid paper
Drawing

Recto: Landscape view with a group of women gathering at a well. A man stands to the left of the well, about to drink from the container of water offered him by one of the women. Camels stand beneath a palm tree at left. Other animals and figures surround, and a city is visible in the background. 
Verso, above: In a landscape, hunters catch snakes using two-pronged forks on long handles. They secure the snakes in sacks hung over the men's shoulders. Dogs assist by barking, chivvying snakes out of their holes.  
Verso, below: In a landscape, three nude women stand in the foreground at left; they are the goddesses Hera, Athena, and Aphrodite. Paris sits on a boulder at center, with Mercury standing just beyond. A bearded river god reclines at right. A background of rolling hills is behind.
Girdle fragment
, 19th century
cotton, metal Technique: embroidered

Piece cut from the end of girdle. Embroidery in conventionalized design based on diagonal lines and squares.
Box and cover
, ca. 1790
gold, tortoise shell and mother of pearl

Maker is I Spies or Spits or Johann Spies
Title Page
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Title page for a series of 25 vases from gardens at Versailles, Trianon and Marly. The text is lettered within an arched trellis with climbing foliage. The top of the arch is decorated with C-scroll and acanthus ornament with a ram's head and a small tree above. The sides of the trellis are decorated with herms supporting small potted plants. The bottom of the trellis morphs into c-scroll, acanthus, and floral ornament, with a fish scale pattern, and a lidded vase on a socle. Three putti decorate the vase with a garland of flowers.
Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Nude female figure lying on left side, right arm raised; legs drawn up to body.
Tester and Valance Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th century
Etching on laid paper
Print

Designs for an embroidered bed tester and valance featuring strapwork, fleurons, rosettes, and foliate scrolls. The plate is numbered.
Point of Land with a Lighthouse
Winslow Homer, American, 1836–1910, ca. 1880
Graphite on yellow-gray paper
Drawing

Horizontal view showing from the left a long point of land with a lighthouse, running out to sea where five schooners, one behind the point, and three dories are laying a net.
Frieze
Pierre Jacquemart, 1795–1801
Block-printed on handmade paper

Two repeats of design of caryatids on round pedestals holding up the lower ends of lambrequins. The fabric panel is held up by a wavy rod supported by the female figures heads. Across top, simulated molding of interlaced ogives. Printed in grays, violets and black.
Table mat
, 17th century
silk Technique: plain compound weave

White ground has a concentric framework of diamond shapes set with conventionalized floral branches in pink, blue and green. Serpentine floral border with flower heads and birds. Pieced.
American Falls in the Snow, from Goat Island, New York
Frederic Edwin Church, American, 1826–1900, March 20, 1856
Oil and graphite on cardboard
Drawing

Landscape sketch showing a view of the American Falls portion of Niagara Falls covered in snow, as viewed from Goat Island. In the immediately foreground, nearby water rushes over the edge of the falls down toward the cascade's frozen base at left. At right, a mass of ice and rocks atop the falls is visible, covered in snow. Just beyond it in the middle distance, the remaining portion of the American Falls is visible, with water cascading over its edge unimpeded. On the opposite shore, two wooden structures are visible within a barren wooded area. At left, the Niagara River flows into the background, hemmed in by steep banks at left and right, before curving to the left.
Interior Alcove
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on laid paper
Print

An alcove with a canopy bed in the center with feather finials. The alcove is framed by columns, a frieze with rosettes, portrait busts on plinths in arched niches, festoon of fruit and leaves, and a mascaron (mask).
Cup and Saucer
Wallendorf Porcelain Manufactory, German, established 1764, ca. 1800
hard paste porcelain, vitreous enamel
cup and saucer

Cylindrical cup; rectangular strap handle, with simulated screw heads. Saucer flat with flaring sides.
Study for "The Wreck"
Winslow Homer, American, 1836–1910, ca. 1895–96
Graphite, with pen and black ink and brown ink on green buff paper. discolored to brown
Drawing

Horizontal view of four coastguardsmen pulling, and one pushing a lifeboat along wet sand. Lifeboat resting on carriage wheels; star painted on visible end of boat. Turbulent waves indicated at right edge.
Cow Scratching its Head and a Leafy Plant
Frederic Edwin Church, American, 1826–1900, 1844–46
Graphite on white wove paper
Drawing

Mixed sketches showing views of a plant with long, broad leaves and cow scratching its head. At center, the cow lifts its hind leg to scratch its head with its hoof. At right, the broad, serrated leaves of a plant are shown. At lower left, an indistinct form is also included.
Design for a sedan chair
, 1775–80
Black chalk, pen and ink, brush and blue, rose, red, yellow, brown watercolor on paper
Drawing

Shown from the left front corner with two bars. On top of the roof sits a griffin in a wreath. Fantastic masks in the shape of urns stand at the corners. They are connected between each other by a cresting. Lambrequins hang downwards, as do tassels at the corners. The panels are framed by reed rinceaux. That beside the window is decorated with an urn surrounded by festoons. In the other panels hang festoons. A disk with superimposed garland hangs between them in the upper part of the back. In the lower panels are rosettes below. The mountings and the decoration of the bars are shown. The signature and the date, the latter in the foot have been erased.
Plate 3, from "Divers Ornemens"
Gabriel Huquier, French, 1695–1772, 1730-1740
Etching on paper
Print

Rocaille frieze, one section of which is shown. Small flower branches, an upper and lower border complete the design. Vertical lining between the elements of the design.
Title Page
Pierre Roguié, French, ca. 1713– after 1753, 
Etching on laid paper
Print

Title page for a series of landscape prints. The title is lettered and partly taken out within the center of a rococo cartouche frame featuring c-scrolls, feathers, shells, fleurons, and rinceaux with sprigs and leafy trees in the background. The plate is signed by the publisher and numbered.
Design for a Park Colonnade
Josef Georg Kornhäusel, Austrian, 1782 - 1860, ca. 1827
Brush and watercolor and gouache, pen and black ink, graphite on rough blue paper
Drawing

Architectural design for a park colonnade. The central part consists of four fluted columns of Doric order. Through the intercolumniation, view of a park; figures of a couple at right. Laterally are pilasters standing upon dados, sarcophagus-like. The sticks of tridents, shown between sea horses in the friezes, hang downwards. Below are lion masks from which water pours into basins in front of the dados. Above, the entablature; three steps in the central part and vases between.
Study of Right Hand of Alexander Hamilton
Daniel Huntington, American, 1816–1906, March 1851
Graphite, white chalk on grey wove paper
Drawing

Study of the right hand of General Alexander Hamilton, with the thumb and knuckle of the index finger resting on a surface.
Decorated Cartel with Poetry Motifs
Pierre-Gabriel Berthault, French, 1737–1831, mid- 18th century
Engraving on paper
Print

Decorated Cartel with Poetry Motifs.
Coastline at Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, August 1851
Graphite, brush and white gouache on brown wove paper
Drawing

Landscape sketch showing a view of waves crashing into the rocky coastline of Grand Manan Island in Canada. In the foreground, the nearby rocky beach is visible at lower left and curves a rocky spit of land that extends into the water in the middle distance at left and center. At right, a crashing wave sends up white spray, articulated in white gouache. The breaking foam of the small waves at left is also rendered in detail with white gouache. In the background, hazy clouds hang just above the long, flat ocean horizon.
Design for two entablatures
, 1770-1790
Pen and Chinese ink, brush and watercolor, graphite on paper
Drawing

Top depicts rosettes, calyxes, and leaves. Bottom shows leaves and plants with pevals below.
Bag
, 19th century
silk, glass beads Technique: beaded knitting Label: knitted silk with glass beads

Drawstring bag knitted with colored glass beads with a landscape scene of a river with one man in a rowboat and another fishing from the shore; buildings and a tree on an opposite shore. Blue silk taffeta at the top with a silk drawstring and beaded ball.
Button
, mid-19th century
steel

1931-59-309-a: eight-sided flat buttons ornamented with design of...
Elevation of a Catafalque for a General
Mauro Antonio Tesi, Italian, 1730 - 1766, 1700–1750
Graphite, pen and ink on paper
Drawing

The left half and some details shown. A sarcophagus on a high pedestal stands in a pavilion framed by column which support a high roof. On top of the sarcophagus is a circular portrait medallion over which children hold a wreath. A censer stands before the bottom center. A coat-of-arms. Sketched at top left, is in a circular pediment of the richly decorated roof.
Design for a Printed Project
, 1820–40
Pen and ink, brush and watercolor on paper
Drawing

Most of a fantastic flower bough is shown obliquely on dark lilac ground.
Head of a Cow
Samuel Colman, American, 1832–1920, 1860–70
Graphite, white chalk on paper
Drawing

Study of the head of a cow. Head facing right, front. White chalk on verso.
Niches in Rock
Frederic Edwin Church, American, 1826–1900, 1868
Graphite on white wove paper; verso: graphite
drawing

Loose sketch of architectural niches carved into rock. Central niche characterized by a pair of columns supporting an arch. Undefined niche visible below.

Verso: Sketch of a frame, articulated by two rectangles, one within the other.
Elevation and Plan of a Carriage Entrance
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for the doors of a carriage entrance. The doors are decorated with ornament motifs including portrait relief, putti, flowers, and rocaille elements. The plate is numbered but not signed.
Landscape in the Austrian Alps
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of a rugged, pinnacled mountain range in the Austrian Alps, with the steeple of an unfinished church in the middle distance at left. Nearby treetops are loosely rendered, while a rounded hillside is faintly articulated behind them at left. Highlighted in white gouache, the mountain range creates a serrated horizon in the background.
Political propaganda
, 1840
cotton Technique: printed by engraved roller on plain weave Label: cotton printed by engraved roller
Textile

Printed cotton with alternating scenes of a log cabin, the larger of which has barrels in front, one of which reads HARD CIDER; cannons in the background. Flowers, trees, leaves and birds surround the scenes. In brown and red, much faded, on white.
Garden seat
Mintons, ca. 1880
Molded, glazed and gilded earthenware

Cylindrical form with swelling sides and top molded to look like circular cushion with draped ribbon and bow below; cobalt blue glaze with gold and platinum floral decoration.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1775–85
cotton Technique: block printed and painted on plain weave, blue and yellow applied by hand

Printed cotton with a straight repeat of four offset, slightly dovetailed rows of  flowers, a different flower in each row. The flowers, in black, blue, green, yellow and red, are widely spaced on the white fabric.
Three-Quarter Figure
Francesco Bartolozzi, Italian, active England, 1727–1815, 1796
Stipple engraving in brown ink on white paper
Print

The man sits with a simple robe about him, his legs crossed, facing the right. His right hand, pointing, and his left hand, on his knee, are dotted in.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

tan warp and pink and brown/red wefts making floral with ribbon pattern
Embroidered slip
, 17th century
silk embroidery on linen foundation Technique: embroidered in counted stitches

Embroidered yellow tulip with a stem and green leaves. Cut away from a larger piece of canvas. Intended for applique.
Box
, 1880–90
Cardboard and paper

Rectangular, covered with beige paper printed with blue lines and dots. On cover, romantic scene of 17th-century lovers and troubadour in boat. Cover edged with blue-and-red printed guilloche border, and embossed gold. Inside, lithograph of Chateau Montesquien.
Fragment
, 17th century
silk, linen Technique: woven

Hexagonal field with central palmettes and arabesques. Primarily in red. Worn.
Design for a Candelabrum
Joseph Anton Seethaler II, German, 1799–1868, 1800
Pen and black ink, brush and gray wash on paper
Drawing

Circular plinth. Four scroll legs each with a pair of hooves arches on top and showing trefoils. Over a frieze and a row of lion masks rises a vase on a pedestal as central finial. From behind the lion masks are to rise acanthus rinceaux from which cornucopias grow supporting the sockets. Only the lateral and an indication of the front, branches are shown. The sockets of the lower row represent some, the upper ones are molded by scrolls.
Peep-show, Vue Perspective de la Place Dauphine à Paris, No. 71
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Sewing sample
, late 19th century
Linen

A: Border of heavy needle lace edging - buttonhole stitch. B: Small piece, as for a sleeve, of white linen; shirred into a plain stitched cuff at one end; at other, a cuff decorated with buttonholes as borders and minute flower spray, in relief, satin stitch.
Sketch of Two Angels
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and blue watercolor on tracing paper
Drawing

Two figures center. One above with a harp, looks out to the left. One below looks down to the left.
Figural Letter, Capital A
, ca. 1700
Etching on paper
Print

Shown against clouds upon which angels make music, while others adore. Moon and sun in the bottom corners. Moulded frame.
Fortuna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Charcoal and graphite on paper
Drawing

Left, octagonal scene of Fortuna and her chariot. Lower left and right, sketches of putti with inscriptions.
Fragment
, early 18th century
linen Technique: needle lace

Fragment has a delicate conventionalized floral design connected by picoted bars.
Textile
, 1810–1820
cotton Technique: roller printed on plain weave

Blue and white textile with vertical bands of flowering branches that alternate with scenes of elaborate, fashionably dressed windows. One window has panes that open onto a lake with three people in a boat as a couple walks along the shore. The other window has an elaborate window treatment of tassels and swags with a large urn of flowers in front. Two large vases with Chinoiserie-style scenes are on either side of the open window.
Printing block
, 19th century
wood, metal

Design of two large flowers and some leaves formed by metal strips and pins.
Fringe
, 17th century
silk Technique: woven

Fringe in pink, white and tan with a plain-woven heading. Skirt threads in pink, white and tan stripes with small gaps in between each color.
Organ Case with Arms of P
Pope Alexander VII, 1599–1667, 1655–67
Pen and brown ink, brown wash, graphite, incised Support: off-white laid paper
Drawing

Pilasters orgaines as is alternatively suggested for the corners support an entablature, in front of which angels support the coat-of-arms of the Pope. Alternative suggestions are made for the shape and decoration of the Entablature and for a broken pediment, at right with angels blowing trumpets seated over the corners of the Entablature, at left, Pipes are to be shown in three arcades; the right one has not been entirely Executed in the drawing. The lateral arcade are lower than the central one; trophies of musical instruments hang over the openings, the left side of the plan and The Scale are at the bottom.
Fragment
, 17th century
silk, cotton Technique: two integrated structures; plain weave plus plain weave

Beige and white floral forms in half-drop arrangement on green background.
Fringe
, 17th century
silk Technique: woven

Fringe in green, yellow, red, blue, and white striped heading. Skirt threads are looped for a polychrome effect.
Design for a Lithograph, A Young Woman Standing on a Terrace
Adolphe Mouilleron, French, 1820 - 1881, ca. 1850
Graphite, pen and ink, brush and brown watercolor on blue paper of a book wrapper
Drawing

She is leaning against the railing, her head resting in the palm of her right hand. On the reverse is a rough sketch and the signature, written in ink: "Mouilleron ft."
Fragment
, 14th century
cotton, linen, silk and metal Technique: embroidered; satin, split stitch, couching on metallic thread

Fragment of a pictorial embroidery, "Noli Me Tangere." Christ appearing to Mary Magdalen in Garden. Before a tree, Christ with hand outstretched to Magdalen, kneeling at left. Hair and beard of Christ in red-gold silk, his robe of gold, now tarnished, mantle blue. Magdalen's head in profile, red-gold hair, robe indicated by remains of gold and blue silk. Background and tree have been worked in couched gold over heavy cotton stitches in high relief.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman's head turned toward her shoulder to the left.