biglam/cooper-hewitt-alt-text huggingface dataset:
Mixed Sketches, Palestine or Syria (Israel or Jordan)
Frederic Edwin Church, American, 1826–1900, February or March 1868
Graphite on white wove paper; verso: graphite
Drawing

Mixed sketches showing a rugged landscape, two plants, and two views of a camel with its rider in present-day Israel or Jordan. Along upper portion, a sketch of a landscape with several bluffs and prominences surrounding a river basin with vegetation is visible. Along lower portion and oppositely oriented, two botanical studies of a tree and a bush are included at right. In lower left, two views of a camel standing and sitting with its rider are visible, shown from behind.

Verso: Landscape sketch of a rugged valley with mountains extending to the horizon, and two sketches of a camel's head, viewed from behind, are visible at left and oppositely oriented.
Design for a Panel
, 1780
Pen and ink, brush and watercolor, graphite on paper
Drawing

A dancing girl with a garland shown over a table which is supported by a grotesque plant and from which two cornucopias rise. Festoons are suspended on top. Framing band with intertwined waved garlands.
The Viking's Daughter, Illustration for Harper's New Monthly Magazine (LXXVIII, No. CCCCLXIII, December 1888, p. 2)
Frederick Stuart Church, American, 1842–1924, December 1888
Printed in black ink on paper
Ephemera

In the center, a woman stands with long hair and dress billowing in the wind holding part of an arrow in her hand. On the upper left are seagulls.
Textile
, ca. 1760
silk Technique: embroidered in chain stitch on plain weave

White ribbed silk embroidered in colored silks and chenille (in chain stitch) in design of interlacing stems and floral sprays.
Trophées de Bacchus
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Three trophy designs. The trophy on the left has a rod wound with roses, ivy leaves and grapes; there is also a wine vessel with a satyr's head, and a staff. The central trophy has an arrow and two kissing doves. The trophy on the right has a thyrsus, wine bowl, and flowers. The plate is signed and numbered.
Fragment
, 17th–18th century
silk Technique: plain weave with supplementary warp floats

Vertical stripes with pattern of warp floats. Selvage at one side
Study for a woman holding a child, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Red and brown pastel crayon on tracing paper
Drawing

A female figure holding a child. The post of the legs was altered from 1904-16-6-a/b again in apricot/brown crayon. The sizes of the younger child grow from A to C, and she is lifted higher.
Vase de marbre blanc de six pieds trois pouces de haut, dans la grande allée à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase form the Great Lawn in the gardens at Versailles. The vase is decorated with fluting and acanthus leaves, with two floral cornucopias, tied to together with ribbons. The lower part of the vase is decorated with shell, c-scroll, and acanthus leaf ornament. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
Design for a Cross
Pietro Belli, Italian, 1780–1828, ca. 1820
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Spear and sponge staffs are crossed in front of a cross, their bottom and top parts being held by pairs of flying angels. The upper ones hold with their bare hands a wreath on the cross. Similar wreaths are at the ends of the other parts of the cross. Two flying angels support the cross arm. Framing lines.
Snow-Capped Mountain, Mexico
Frederic Edwin Church, American, 1826–1900, February 1890
Graphite on tan wove paper
drawing

Landscape sketch showing a loosely rendered view of an immense, snow-capped mountain in Mexico. The foreground and middle distance are comprised of rugged, rolling terrain--likely the foothills of the mountain. In the background, the rocky, conical, and sharp mountain dominates the composition. Its sides are rough and craggy.
Ornamental Clasp Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates printed next to one another. The top plate features ornamental, architectural clasps with designs centered on mascarons and helmets. The bottom plate features horizontally oriented trophy designs with attributes of music. The plates are signed and numbered.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788
Aquatint and etching on laid paper
Print

Arabesque ornament design featuring a classical roundel with a seated male figure and a frieze with animals and a figure, mermen, festoons of leaves and flowers, ribbons, rosettes, flowers, fruit, incense burner, birds, fleurons, scrolling acanthus leaf motifs, drapery, and crowns of flowers. The plate is numbered and signed.
Design for the Embroidery of a Man's Waistcoat
, 1780–1790
Graphite, brush and watercolor on paper
Drawing

Lower left section of a waistcoat. Borders of flowers and leaves along the edge and on the pocket. Sprays of flowers and leaves above.
Purse
, 17th century
silk, metal Technique: knitting

Purse, with the upper section knitted in blue silk in a lozenge pattern with openwork borders. The lower section is a a grid of laid blue silk cords interlaced and looped with gold and silver-wrapped silks, and the bottom tip looping using foil-wrapped silk (gold and silver).
Fountain in the Form of a Cartouche
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Rocaille cartouche as a fountain, decorated with Poseidon holding a trident, putti, and sea creatures including dolphins and sea snakes. The fountain is in the lower foreground of the plate, behind which are colonnaded buildings, statues, and a staircase with staffage walking about. The plate is signed and numbered.
Letter case
, 18th century
silk and metal thread on silk foundation Technique: embroidered on satin foundation, lace

Ivory satin letter case embroidered with flowers in polychrome silks and metal threads, trimmed with metallic bobbin lace.
Drawing, Nude
Domenico Corvi, Italian, 1721 - 1803, ca. 1740
Red crayon on paper
Drawing

Young man sitting, seen from the front.
Rocaille Designs for Frame and Border Decoration
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off-white laid paper
Print

Designs for ornamented borders or frames with rocaille motifs including scrolls, shells, and rinceaux. The plate is signed and numbered.
Design for Ceiling Decoration, a Barrel Vault
Giuseppe Barberi, Italian, 1746–1809, 1790–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of the scheme of -1534. The arch is decorated with one half of a plant. A mean is seated below, holding a compass. The panel in the center shows a trophy. The painting represents a scene of Roman history in a setting of ruins. Caption: Fatti Romani con vedute di Ruine
Design for an Ovoidal Painting: Justice
Giacomo Zampa, Italian, 1731 - 1808, ca. 1780
Black chalk, pen and ink, brush and sepia wash, brush and oxidized white gouache on brown paper
Drawing

Shown de face seated upon a bench, holding a sword in the right, a pair of scales in the left hand. Ovoid, caption, signature similar to 1931-65-50 but "Giustizia", no number. On verso: Study: a raised head shown in profile turned toward right.
Engraving: Versailles, Grotto, Interior.
Jean Le Pautre, French, 1618–1682, 1676
Black ink on rolled paper.
Print

Horizontal rectangle:  The whole is decorated with inlaid shells and the floor is of inlaid pebbles.  There are three niches, each with a group of white marble statuary:  the middle group of Apollo and nymphs and the other two of horses and tritons.
Table cover
, late 19th century
silk, metallics

Field of cover made of a patchwork of orange satin fabric brocaded with silver; bordered with woven fabric (Persian?) and piped with black taffeta.
FAÇADE DES AUTELS ET PRINCIPALE ENTRÉE DU CHOEUR DE L'EGLISE CATHÉDRALE DE MEAUX
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Elevation of the entrance to the choir of the Cathedral of Meaux, flanked by two altars with biblical paintings. The central gate has scrolling ironwork and is topped by a crucifix. The plate is signed and numbered.
Fragment
, 17th–18th century
silk Technique: 4&1 satin with supplementary weft floats

Confronted parrots, fis and palmettes in yellow.
Hair Ornament and Jewelry Designs
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Within a double-lined frame, in the upper half, a design for a toothed hair ornament or comb. The top is decorated with a bow design in the center within a frame ornamented with gadrooning, palmette, fleurons, and acanthus leaves. In the lower half there are three designs for hair jewelry, decorated with ‘rocaille' scrolls, bows, a cross, palmettes, acanthus leaves, and fleurons. The plate is signed, numbered, and dated.
Canyon View, El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 21 1868
Graphite on white wove paper; verso: graphite and white gouache
Drawing

Loose landscape sketch showing a canyon view in the valleys of the Nahal Hatira and Nahal Yemin (known to Church as El Yemen Valley) in the present-day Makhteshim-Ein Yahav Nature Reserve in southern Israel. Steep, diagonal slopes converge in the foreground and middle distance. Terrain is notably rocky and rugged.

Verso: Landscape sketch showing a view of a canyon and rugged mountains in the present-day Makhteshim-Ein Yahav Nature Reserve in southern Israel. This steep canyon extends obliquely from foreground to middle distance. In background, a single range of mountains--the Mountains of Edom--are visible extending horizontally across the horizon. The flat Wadi Arabah intercedes between, while a cloud bank floats in the sky above.
Mountain Stream, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850–52
Brush and oil, graphite on cardboard
Drawing

Unfinished landscape sketch of waterfall and stream in the woods of Mount Desert Island, Maine. Extremely dense woods at right and left flank a rock-bound stream that flow toward the viewer at center. Rapids and a waterfall in middle distance serve as the focal point. In the background at center, a dead tree visible through a break in the tree canopy. Reddish ground visible in lower, unfinished portion of composition. Upper portion completed with high level of detail and refinement.
Textile
, ca. 1770
cotton Technique: block printed on plain weave

Brick repeat of two birds in the branches of a tree sparsely filled with leaves and flowers. Tree branches arranged to enclose birds and create serpentine pattern movement. Polychrome pattern on natural cotton.
Textile
, ca. 900
cotton, wool Technique: slit tapestry

1947-49-11: Geometrical designs in tan and red. Motifs are out...;     1947-49-12: Geometric designs in tan and red. Motifs are outli...
Textile
, 1790s
cotton Technique: printed by engraved copper plate on plain weave; mordant for red

Large oval frame enclosing the scene titled "Telemachus in Calypsos grotto" from an engraving by J.F. Beauvarlet of 1773 after a painting by Jean Raoux of 1722.

The frame is supported by an elaborate bracket with urns (an angel leaning on the urn) garlands, hanging medallions, a shield with a small scene from the Telemachus story. Length of repeat: 101cm. (39 3/4"). Lengths of repeat: 101cm. (39 3/4"). Lengths of fabric placed side-by-side would continue pattern as in a straight repeat.
Textile
Orinoka Mills, Philadelphia, Pennsylvania, USA, 1883
silk, cotton Technique: jacquard woven

Dark yellow and yellow in a formal symmetrical floral pattern made up of two symmetrical elaborate leaf forms, each enclosing stylized flowers. The center line of the fabric divides the pattern motifs, meaning that adjoining panels on either side would complete the design. Full vertical repeat is not present.
Tiraz fragment
, 10th–11th century
linen, silk Technique: tapestry weave

Fragment of a polychrome tapestry weave band incorporating Arabic script, medallion with birds and flowers. Eccentric wefts, slits and double sided. Many wefts are missing.
Textile
, 19th century
cotton Technique: relief printed on plain weave and glazed

Square offset repeat of a large medallion made up of four curving leaves enclosing small rosettes. Medallions connected by small ovals and spaces between medallions filled with scrolling and curving leaves. Bright strong colors on a deep red ground.
LE TEMPLE DE NEPTUNE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of a grotto with a statue of Neptune atop shells and dolphins in a fountain. To the left of the fountain are nymphs; to the right, an anguiped attacks a woman. The scene is set within an arabesque frame with reeds, scrolls, bat wing, vases, and a garland at the bottom with a trophy that includes a trident and a tambourine. The plate is signed.
Watch
, 19th century
gold

In outer case, gold with engraved ornament, enclosing a plain gold case. The outer case is elaborately tooled and engraved with applied ornament in another color of gold, and in a metal that could be either silver or platinum. Centre, jewelled hexagon.
Fragments
, mid-18th century
silk Technique: plain compound satin with supplementary weft

Green satin ground with incomplete design of large-scale flowers and smaller scale tree.  Design partly in white and brown secondary wefts and partly in polychrome brocading threads. Component 1907-20-15-c: has left selvage present.
Print
Giovanni Luigi Valesio, Italian, ca. 1583 - 1633, 1619
Engraving and etching on cream laid paper

Horizontal rectangle. Three pairs of horses drive the carriage toward right. It represents a warrior killed when assailing a tower, the home for a virgin. Four famous women of the Old Testament sit at the corners of the platform.
Fragment
A .G. Jennings & Sons, American, ca. 1884
cotton Technique: machine made lace

Alençon-type with scattered flowers and a floral border on net.
Ship cloth (palepai)
, 19th century
cotton, silk, metallic threads Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Horizontally rectangular panel with a "ship of the dead" design. A large symmetrical ship carrying three highly stylized figures and surrounded by abstracted waves. Design in dark blue, brick red, and white with metallic details on an undyed cotton ground. Umbrella-like forms on ship could be ancestor shrines.
Coverlet fragment
, late 18th–19th century
wool, cotton Technique: two intercrossed plain weave structures (double cloth)

Fragment of a woven coverlet with a grid pattern and "pine tree" border, in dark blue, pink, and off-white wools.
Fragment
, 18th century
silk, metallic Technique: plain weave patterned by supplementary weft floats and discontinuous supplementary weft floats

Detached floral motifs on silver ground.
Child's kimono
, late 18th century
cotton Technique: stencil resist (katazome) on plain weave

Short, straight kimono with set-in sleeves in coarse cotton in an allover floral print in shades of light blue, gold and white on a tan ground. Hand sewn with heavy blue cotton thread.
Fringe
, late 18th century
silk Technique: woven

Fringe of white, pink and yellow with a plain-woven heading (yellow warps). White skirt threads are looped, twisted and ornamented with pink silk rosettes placed at intervals.
Altar frontal
, 16th century
linen Technique: grid of withdrawn element with needle lace, reticella style

Large altar frontal with insertion bands of punto in aria in a reticella style showing an allover pattern of curving lines. Matching border with very deep points.
Length
, 19th century
linen Technique: embroidery on net

Pattern of flower and leaf.
Fragment
, late 18th century
linen Technique: block printed on plain weave

Fragment printed in blue on white in a design of a stripe with a flowering vine.
Design for a Playing Card: Queen of Hearts
, 1825–1850
Graphite, brush and watercolor on paper
Playing Card

Jeanne d'Albert is shown standing, holding a fan in her right hand, a handkerchief in the left.
Epergne, from "Disegni Di
Giovanni Giardini, Italian, 1646 - 1721, 1714
Engraving, etching Support: white laid paper
Print

Vertical format. Tiers of shells supported from a central vegetale core and by two mermen holding flowers. Top is composed of two dolphins and snail shells.
Border fragment
, 19th century
linen Technique: bobbin lace, Binche style with snowflake ground

Border of scrolling leaves and flower heads, details in "fond de neige" or snowflake ground.
Ribbon
, 17th century
silk and silver thread Technique: woven

Design of detached flowering sprays in silver thread on a silk ground. In pink and silver.
Border
, late 18th–early 19th century
linen Technique: needle lace with ground of loop and twist with twist return

Border with a slightly scalloped border of floral sprays and a powdered-over net of semé de larmes.
Interior of St. Peter's Illuminated
Louis-Jean Desprez, French, active Sweden, 1743–1804, 1776–84
Pen and black ink, brush and brown wash, white gouache on cream laid paper, mounted on greyish-green paper
Drawing

Dramatic view of interior of Saint Peter's in Rome on Holy Thursday. View is from the right transept looking into the nave in which a large cross is suspended from the dome, composed of several hundred candles. Beneath the cross in the nave stand numerous figures; others stand and kneel in the transept. The illumination from the cross casts areas of light as well as dark shadows on the vaulted ceilings and walls.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design in horizontal rectangle in grays and blues, taupes, similar to stones, in different configurations.
Sidewall
, ca. 1820
Block-printed

Birds and flowers in white bands.  "Bird of Paradise" document.
Fragment
, 12th–13th century
cotton Technique: resist-printed on plain weave

Unbleached cotton cloth resist-printed in two shades of blue.  Fragment of a motif, more or less circular, reserved in ground color.  Center: vine pattern curving inward to frame actively curved foliage ("raisins a appendice") and part of a palm leaf on fan-shaped leaf in profile.  Small segment of a curved border shows remains of bands in lighter blue.
Elevation and Plan for Sideboard with Reeded Pilasters
A.N. Davenport Co., 1900–05
Graphite and yellow pencil on thin cream paper
Drawing

Elevation: front of sideboard with tri-partite front divided by four reeded pilasters; central front has four horizontal drawers with "C"-shaped handles indicated in yellow pencil; side sections each have a closed cupboard topped with single drawer; low backsplash.
Sidewall
M.H. Birge & Sons Co., 1834, 1910–15
Block-printed, glazed, embossed paper

Interlocking foliate framework with enclosed stylized flowers. Printed in metallic silver and taupe on light blue ground. Paper embossed to resemble leather.
Mariko Teahouse, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Lower right, teahouse within which two travelers are eating, waited on by woman with baby on her back. Behind is hill and on each side plum trees in blossom. Left, traveler walks away. Lower half, horizontal lines of green shading.
The Present State of Great Britain
J. Phillips, active 1770 - 1780, ca. 1775
Engraving on paper
Print

Political cartoon showing a pilgrim and an native American robbing a colonist who stands in the center, dozing. At the left, a Scotsman fights with a French fop.
Knife
, ca. 1670
steel, enamel, silver

Blade, straight sided, upper edge tapering towards the point. Handle white enamel with multi-colored floral pattern in yellow, red and blue. Silver mounts on top of handle.
Handkerchief
, late 19th century
linen Technique: embroidered, bobbin lace edging

White handkerchief elaborately embroidered in white linen. Corner design of flower sprays and small fluttering birds. Flowers are padded and raised with some leaves semi-detached from the ground. Border is composed of alternate square and oblong sections of embroidery, one framing a small flower design, the other solidly worked and decorated with S-scrolls, raised sections and drawnwork. Bobbin lace edging.
Table cover
, 18th century
silk on linen Technique: embroidery in satin, double running, stem, cross and herringbone stitches; with drawn element work with overcasting and looping on plain weave; bobbin lace attached.

Rectangular linen table cover with the center panel embroidered in polychrome silks and an ivory drawn work border sewn to all four sides. The embroidery depicts a large "bicho" or beast in pink, blue and gold, suckling two small beasts, with a third small beast inside the mother beast; four small beasts are scattered around. In each corner, an owl with a gold face and a pink and blue checkered body, and at each side, a double-headed bird in gold and blue. In the center panel above and below the figures is an additional band of drawn work.
Six of Hearts from Set of "Jeu Imperial–Second Empire–Napoleon III" Playing Cards
B.P. Grimaud, Paris, France, 1858
Lithograph on glazed paper
Playing Card

Six of Hearts from Set of "Jeu Imperial-Second Empire-Napoleon III" Playing Cards.
Town on a Canal
Hendrik Spilman, Netherlandish, 1721–1784, 1750–70
Graphite, pen and bistre ink, brush and bistre wash on cream paper
Drawing

A canal, spanned by two stone bridges, runs through a town. A thatched hut, left, and a stone building, surmounted by a town, right. Figures in the scene.
Frieze
William H. Mairs and Company, Brooklyn, New York, 1905–1915
Machine-printed paper

Floral bouquets, enclosed in foliate scrolls, are joined by floral swags.
Lovers in a Boat
Carlo Giuliano, Italian, 1831 - 1895, ca. 1880
Gold, enamel, diamonds, sapphires, emeralds, rubies, pearls
Brooch

Gold and enamel jeweled brooch in the Renaissance style in the form of a ship with two lovers in stern and two doves in the prow; with four button pearls, five half-pearls, six rubies, eleven emeralds, four sapphires, eleven rose diamonds.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Brush and brown wash, graphite on paper
Sketchbook folio

Sketch of a man with a moustache, his left hand on his chin.
Beadwork panel
, 1696
beads, linen Technique: beads strung according to pattern on linen cord one row at a time, then anchored with red silk around the cord and between each row

Three panels originally made as sides for a beadwork box. The box would have needed several other panels and would have had an irregular shape. Panel C is a rectangle with tulip-like flowers.
Hilltop View, in The Fifty-Three Stations of the Tokaido Road (Kanagawa, Dai-no-kei Tokaido Gojusan Tsugi-no Uchi)
Ando Hiroshige, Japanese, 1797–1858, ca. 1834
Woodblock print in colored ink on paper
Print

Village street rises steeply to right with group of travelers, two of whom are accosted by women, trying to drag them into teahouses. Left, in the bay, boat at anchor, skiff with two men; also five small boats and five boats sailing; cloud in sky.
Sampler
Mary Finkel, English. n.d., 1730
silk and linen embroidery on linen foundation Technique: embroidered in counted satin and double running stitches, needle lace fillings in cutwork areas, on plain weave foundation Label: Silk and linen embroidery with needle-lace fillings on linen

Small square sampler with bands of circles and squares filled with needle lace in a variety of patterns including hearts, crowns, flowers, and geometric motifs. One hollie point square has three crowns, WA, Mary Finkel 1730, and AC beneath the crowns. Border of acorns and plants.