biglam/cooper-hewitt-alt-text huggingface dataset:
Study for Jacob Pours Oil upon the Stone at Bethel, Plate 87, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, pen and brown ink on cream laid paper
Drawing

A man stands in profile in the center of the picture holding a large stone. He is surrounded by mountains on the right, trees on the left, and a cloudy sky above. The scene is bordered by a rectangular frame, upon which are attached six rocks of various shapes and sizes. The landscape extends beyond the border of the frame.
Fragment
, 17th century
silk Technique: uncut, cut voided supplementary warp pile in a satin foundation (velvet)

Fragment of a floral pattern in red, pink, yellow and green.
Project for Book Illustration; A Panel with Attributes and Recollections of a Hero
, 1750–55
Graphite, pen and black ink on paper, brush and ink wash on paper
Drawing

The inner framings are influenced by Watteau's designs. Niches form lines and stripes along the edges.  A trophy composed of books, weapons, plants, fruit, an inkstand, the book showing medals. Three balls of an indistinct character float before the upper part of the niche. A cross, mace, and medals are suspended from the top.
Fauteuil à Panneaux orné de Sculpture
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Profile design of an armchair with details of the chair frame, which is carved with ornament motifs including acanthus leaves, spiral fluting, bound leaf, rosette, rinceaux, lamb tongue, pine cones, and gadrooning. The plate is signed and numbered.
Fragment
, 5th–7th century
Warp: S-spun linen. Weft: S-spun linen; S-spun wool Technique: Slit tapestry

Pair of bands with a serpentine pattern of leaves. Monochrome type, dark purple wool and undyed linen.
LA TESTE DE L’ISLE DU PALAIS
Adam Perelle, French, 1638 – 1695, 1688–1703
Etching on laid paper
Print

View of the Île de la Cité in Paris from the river Seine with the Notre Dame cathedral in the center, and a bridge to the left. Buildings, trees, and figures throughout. Barges and row boats on the river. The plate is titled with a description. Buildings and details are numbered with a legend below.
St. Luke (S. Lvcas)
Cornelis Visscher, Netherlandish, 1629-1658, 1650
Engraving on laid paper
Print

St. Luke sits at a table writing his gospel in a book. He writes with a quill pen in his right hand and holds the book open with his left. He is accompanied by his attribute, the ox which appears just behind the Saint's shoulder at right.  Behind him, at left, a painting is shown on an easel, a reference to the legend that Saint Luke was an artist and that he painted the first portrait of the Virgin.
Cartouche Set on the Prow of a Ship
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on white laid paper
Print

Design for a title page in the form of a ship. The prow of a ship is supported by two mer-creatures on either side. Above, the sail of the ship functions as a rectangular cartouche where text would be placed. A variety of shells, coral and seaweed adorn the area above the sail.
Le Couronnement d'Esther
Jean-François de Troy, French, 1679–1752, ca. 1825
Block-printed on handmade paper
Firescreen

Horizontal rectangle, printed in brilliant colors on two joined sheets of paper. A coronation scene is taking place in a beautiful outdoor architectural setting.
Nouvelle Suite de cahiers chinois a l'usage des déssinateurs et des Peintres, no. 2
Jean-Baptiste Pillement, French, 1728–1808, 1790–1799
Etching with colored inks à la poupée on off-white laid paper
Print

Irregular cartouche composed of trees, bridges, and fantastic foliage executed in the chinoiserie style. A small figure balances on a bell laden rope suspended between two platforms at center. A figure fishes from a bridge at lower left.
Fragment
, late 18th century
embroidery using chain stitch in silk on silk foundation

Regular arrangement of floral sprigs in red, yellow and green on white.
Frame
J. Arrivet, French, active 1776 - 1779, ca. 1780
Engraving on paper
Print

A rectangular frame decorated with trophies of love and music at top and either side. Further embellished with floweres and ribbons.
Rez de chaussée
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–50
etching and engraving on paper
Print

1921-6-212-4-a: Architectural plan with alphabetical notations ide...;     1921-6-212-4-b: Architectural plan with alphabetical notations ide...;     1921-6-212-4-c: Architectural plan with alphabetical notations ide...;     1921-6-212-4-d: Architectural plan with alphabetical notations ide...;     1921-6-212-4-e: Architectural plan with alphabetical notations ide...
Galerie métallique des grands hommes français (Great Men of France)
Emile Rogat, French, 1799 - 1852, 1823
Cast bronze
Medal

Bust of Jacques Auguste de Thou (1553-1617).
Trophies with Musical Motifs, Plate 1 from "Cahier de Trophées, Soffites et Vases," Parte IX, Cahier I
Richard de Lalonde, French, active 1780–96, ca. 1780
Engraving on paper
Print

Three trophies composed of musical instruments, tied with ribbons and garlands. From "Cahier de Trophées, Soffites et Vases," parte IX, cahier I, planche 2.
Fig Tree and Wild Philodendron, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape and botanical sketch showing view of fig tree with wild philodendron in the Jamaican jungle. Trunk of tree, with its countless vines, grows out of rocky outcropping and serves as focus of composition. Another tree visible in middle distance at left. In background, pinkish, puffy clouds backdrop a rolling landscape.
Spray of Flowers
Arnault-Eloi Gautier-Dagoty, French, 1741 – 1783, mid- 18th–late 18th century
Etching on laid paper
Print

Design for a fantastical chinoiserie spray of flowers with leaves and stems. The plate is signed.
Portrait of Ferdinando I de' Medici
Monogramist N, 1582
Engraving on paper
Print

Half-length portrait in three-quarter view to right of the IIIrd Grand Duke of Tuscany. He wears a richly embroidered vest tightly closed. His head is bare, his face serious.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates of profile designs for stone and woodworking. The plate on the left is also the title page and includes a cartouche surrounded by a lion with its paw on a book, a bird, flags, and a plant. Both plates are numbered; neither are signed.
Keying Up: The Court Jester
William Merritt Chase, American, 1849–1916, ca. 1875
Etching on Japanese paper mounted on brown laid paper
Print

A bearded male figure is dressed as a jester.
Two Panel Designs
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

Two designs for ornamental panels printed on the same plate, side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, sprigs, flowers, c-scrolls, feathers, rinceaux, ribbons, platforms/ plinths, vases, and a terminal figure. In the center of each panel are figures within fantastical landscapes. Two the left, a man sits on a platform with a canopy above his head, below in the foreground two figures and a bird. To the right, three figures in a landscape with trees, a bridge, an elephant and a dragon in the foreground. The plate is numbered and signed.
Plan du Projet de l'Autel de l'Eglise de St. Aignan d'Orleans en 1730 (Plan of Design for the Altar of the Church of St. Aignan of Orleans in 1730), plate 106, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

1921-6-212-64-a: Plan of altar with stairs and scales.50;     1921-6-212-64-b: Plan of designs for altars.50
Title Page
Jean-Baptiste Le Roux, French, ca. 1677-1746, early 18th century
Etching and engraving on paper
Print

Title page for a series of wall elevations featuring different designs for wall treatments including paneling, doors, chimney pieces, and bookshelves. The title is lettered in a central medallion (cartouche) on a pedestal topped with a vase. The cartouche is framed by scrolling leaves, palm leaves, foliate branches, and a mask (mascarons). A curtain frames the whole scene, with a wall elevation in the background featuring arched windows overlooking a garden with fountains. The decorative paneling features trophies, oval medallions, masks (mascarons), pilasters, and a running frieze along the cornice with brackets. A description of the design is lettered below. The plate is numbered.
Button
, ca. 1880
Brass

1942-16-1: On card 4950
Title Page
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two plates of cartouche designs. The plate on the left serves as the title page of the series, with the text inscribed in the center of the cartouche comprised of two winged figures. Both plates are signed and numbered.
Portrait of Madame Lambert (Marie de Laubespine)
Pierre Drevet, 1663 - 1738, ca. 1698
Engraving on paper
Print

Almost full length portrait of the young woman seated in an armchair. In three-quarter view to right. Dress has a décolleté neckline surrounded by lac. A part of the fur from her coat is over her right shoulder. She holds a dog in her lap. In background, columns, and a wall with pilasters. Inscribed, lower left: "N. Largilliere pinxit"; lower right: "P. Drevet Sculpt."; lower margin: "Marie de Laubespine, femme de Nicolas Lambert; / Seign^r. de Thorigny, President en la Chambre des Comptes. / A Paris chez P. Drevet rüe de Foin devant les Mathurins."
Frontispiece
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1779
Etching and engraving on laid paper
Print

Title page with the title lettered within a rectangular neo-classical cartouche/frame, decorated with festoons of flowers, scrolling acanthus leaves, rosettes, a mask, and a lyre. Below the title, a vignette with a putto holding up a mirror to a female putto seated on a plinth flanked by a winged hourglass. The plate is signed and inscribed in graphite.
God the Father and Angels
, late 18th century
Black and red chalk on thick cream paper
Drawing

Figure of God the shown flying at upper center, arms outstretched. An angel is kneeling immediately beneath him upon a cloud, upon which four other angels are also kneeling and sitting further down. A small angel holds a palm branch.
Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, mid- 18th–late 18th century
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace, overmantel mirror, and painting above) illustrated as a detailed wall elevation with two different options in the design (split in half). The designs feature rococo ornament and motifs, with c-scrolls, rosettes, scrolling leaves (rinceaux), foliage, shells, fluting, catrouches, clasps, masks (mascaron), sprigs, palm leaves, egg and dart pattern moulding, feather, and wave motifs. The overmantel mirror is topped with a square painting of a flowering tree or shrub in a landscape, framed by ornate molding. The walls on either side of the chimney piece are decorated with plain frame molded paneling (boiserie) - large horizontal panels, with a dado level below. Below the chimney piece is a scale and a plan view of the mantel shapes and marble front hearth designs, featuring a circle in the center. The plate is numbered and signed.
Figures
Robert Frederick Blum, American, 1857–1903, 1882
Graphite on wove paper
Drawing

Sketches of disparate figures.
Project for an oblong stucco ceiling: gaines and garlands
, 1725–75
Pen and brown ink with gray wash Support: off-white laid paper
Drawing

Mounted together with -6695
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Page printed with two cartouche designs. The cartouche on the left has behind it attributes of war including a horn, a sword, gloves, and a fasces. The cartouche on the right has at its peak a globe with two eagles on it with two dolphins on the side. The plates are signed and numbered.
Divers Profils de Piedestaux suivant les proportions des cinq ordres d'Architecture tant à l'usage des Bâtiments que propre à soutenir des figures, Vases et autres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Profiles of pedestals designed according to the principles of the five orders of architecture. From left to right, they are labelled: Tuscan, Doric, Ionic, Corinthian, Composite. The plate is signed and numbered.
Decorative Project with Octagonal Representation of Summer
Felice Giani, Italian, 1758–1823, 1815
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Ceres shown in profile sitting upon bench. Another girl shown seated in front.
Study for a woman holding a child, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black and brown pastel crayon on tracing paper
Drawing

A female figure holding a child. The clothes were added from 1904-16-6-a and thereby the post of the legs changed in black crayon.
Chairs
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Various views of a barrel-back chair. One is decorated with ram's heads and hooved feet.
Copyright Page for "Archibald The Cat"
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Copyright page for Archibald The Cat
Fragment of a Design for a Nef, or Fantastic Centerpiece in the Form of A Boat
, 1600
Charcoal, pen and brown ink, brush and brown wash on craim paper, laid down
Drawing

A fantastical ship is shown from the side, supported with a foot surrounded by dolphins. Ornaments, including scrolls and acanthus leaves, cover all surfaces. A lansquenet (soldier) stands on the gunwale (top of boat). A spread eagle, caryatid and orb ornament the quarterdeck at rear, above a scrolling handle.
Landscapes along the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on light gray paper
Drawing

Landscape sketch showing views along the Magdalena River in Colombia. At upper left, a grove of numerous palm trees grows atop a steep bank while, at upper right, a mountain, several palm trees, and fence are positioned on a similarly steep riverbank. A panoramic view of rugged mountains capped in clouds beside the riverbank stretches horizontally across the lower portion of the composition.
Box, Jewelry, and Seal Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Third plate from a series of designs for jewelry, boxes, snuffboxes, rings, seals, cane handles and other small luxury objects. The plate includes fourteen designs for earrings, jewelry, boxes, lids, and seals decorated with neoclassical motifs and ornament. The decoration includes repeating patterns, fleurons, acanthus leaves, rosettes, scrolling foliage, scalloped diaper pattern, beads, chestnut, winged putto head, and a profile portrait with a military helmet. The plate is numbered.
Edge lace
, 18th century
linen Technique: needle lace

Narrow edging of Point d'Alençon in a design of floral sprays showing snow drops and carnations; one edge worked in fine mesh with picots on cordonnet. Period Louis XV.
Encensoir
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on paper
Print

Incensor. N. 82; in lower left: J. A. Meissonnier inv.; in lower right: Huquier Sculp et ex rue S. Jacques CPR.
Design for an Oil Lamp
, 1775–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The shaft consists of a column with ram heads on the base. An Egyptian carries a socket on his head, and upon it stands a balustrade with the two spouted bowl on top.
Darning sampler
, 1711
silk and linen embroidery on linen foundation Technique: embroidered in running (pattern darning) and cross stitches on plain weave Label: linen embroidered with silk in pattern darning and cross stitches

Rectangular darning sampler with fifteen darning crosses and two corner mends, with picot edgings and hemstitching. In the center square, where the foundation fabric has been cut away and replaced, the inscription GD 1711, surmounted by a crown, is embroidered in red cross stitch.
Plan and Elevation for Cornaro Chapel, San Lorenzo Basilica
Giovanni Lorenzo Bernini, 1598 – 1680, ca. 1660
Engraving, brush and blue wash, pen and ink on paper
Print

Plan and elevator for Cornaro Chapel, San Lorenzo Basilica
Figure Study for "Communion of the Sick"
Daniel Huntington, American, 1816–1906, 1844
Graphite on cream wove paper
Drawing

Nude female figure kneeling, turned toward the left. Two additional sketches of figure, at right.
Notre Dame in Paris
Eugène Edouard Soulès, French, 1811–1876, mid-19th century
Graphite and black crayon on white paper
Drawing

The facade of the cathedral of Notre Dame in Paris. The houses at right of the square and street flank the left side of the cathedral.
Design for a Ceiling Painting: Diana Selene Perceives Endymion
, 1750–1800
Pen and ink, black chalk, brush and gray and olive watercolor, brush and white gouache on paper
Drawing

The goddess sitting in the crescent looks down to the sleeping shepherd, whose head lies upon a stone and who is shown from the head. A cupid carrying a vessel flies beside the goddess. Framing line.
Fragment
, 13th–15th century
linen, tin Technique: block printed on plain weave foundation Label: Block printed linen plain weave

Repeating pattern in silver printed on a deep blue ground. Off-set tear-shaped framing devices with vine-and-leaf convention enclose stylized palmettes.  Much smaller inverted tear-shaped motifs containing rosettes in the interstices.
Necklace
, 19th century
Shell, leather

Necklace of two strands made of shell discs, whole shells, and larger pieces of turquoise and red stones strung on leather.
Rectangular Sifiting Spoon with Curved Handle
, 1859
silver
spoon

The rounded rectangular bowl pierced with foliate scrolls with shaped and engraved flange border. Tapering stem with biforcated join to bowl and shaped curving terminal engraved with foliate scrolls.
Sketch for a Portrait of Bella Worsham
Daniel Huntington, American, 1816–1906, 1878
Graphite on cream paper
Drawing

Standing woman facing in profile; right hand grasping fold of dress. Her left hand rests on a pedestal, holding a fan.
Corniches d'appartement
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for cornices, decorated with ornament motifs includingguilloche, lamb tongue, bound leaf, and egg and dart. The profiles of the cornices are in the center. The plate is signed.
Darning sampler
, 1723
silk embroidery, linen foundation Technique: darned and embroidered

Small square sampler with nine squares of pattern darning. In the center square, where the foundation fabric has been cut away and then replaced, a crown and the inscription  A.H.L.  Anno 1723 has been embroidered in red cross stitch. The other eight squares demonstrate four twill and chevron variations, three plain weave variations, and one knitted pattern.
Man
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a male figure with a beard.; Detail of face and neck.
Designs for Altar Candlesticks and Candle Brackets
, late 18th century
Pen and ink, brush and gray watercolor, black chalk on paper
Drawing

Vertical rectangle. At left and right, two candlesticks with hexagonal bases with concave sides, supported by leaf scrolls. In the decorations of the candlestick at left, scallops of a cloth with tassels. A mask is at the upper knob. The candlestick at right has cherubim at the oblique sides of the upper section of the pedestal. The bowl below its socket has the shape of a shell. The brackets, either for one candle, are in the center. They are drawn in a vertical row, in profile with the wall at right. The forms consist of scrolls. Part of the candles are also shown.
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 2
Atrium and Staircase in Classical Style
Felice Giani, Italian, 1758–1823, ca. 1825
Black chalk on laid paper
Drawing

Group of persons on top of stairs
Sgabello
, 16th century
Carved walnut wood
Side chair

Shaped back bears carved decoration of paired rosettes and scrolled leaves centering a heraldic ornament in scrolled and foliated cartouche.  Moulded octagonal seat on panelled spreading box frame.  Front and rear leg panels joined by single stretcher.  The front panel bears a pair of confronted dolphins, flanking a cabochon.
Square
, 3rd–4th century
warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: tapestry woven

Inner square with nude figure within a vegetive frame.
Design for an Embroidered or Woven Corner Motif of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white gouache, graphite on glazed tracing paper
Drawing

A lace panel in a lyre shape, from the bottom spirals of which leaf boughs rise, is crowned by a plant. Obliquely shown in an angle of strips.
Elevation of a Censer
, 1780–1810
Black chalk, pen and ink, brush and watercolor on paper
Drawing

The bowl is surrounded by a calyx of water leaves. Above it are a band with a wave motif and a band of beads. In the center of the neck is an escutcheon including a shell motif and containing a framed oval with a crowned monogram over a crescent.
Decorated Capital Letter P
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter P before St. Peter and St. Paul.
Stage set
Giuseppe Barberi, Italian, 1746–1809, Early 19th century
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Four views of interiors of Gothic churches showing, especially, vaults.
Classical Figures
, 18th century
Graphite, red chalk on paper
Drawing

Roundel with classical figures
Design for an Inkstand
Lefebvre Manufactory, Tournai, 1810–1825
Brush and yellow, red watercolor, black wash, graphite on paper
Drawing

Inkstand on wooden base, right drawer open position. Iconography of the sea. Dragon, pierced with a spear flank central basin. Above, inkpot is in shape of a dolphin body, terminate with a twisted mouthpiece, which served as a pen holder.
Designs for Rocaille Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Four designs of rocaille motifs comprised of scrolls, rinceaux, batwings, and leaves. The plate is signed and numbered.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Eighth plate from a series of bifurcated arabesque/ grotesque panel designs with a different design on the left and right side of the plate. The ornament features a central female nude figure laying down, leaning on a cushion, on a platform, surrounded by a canopy, foliage, a dog, two other female figures on steps, swans, fleurons, rinceaux, scrolling leaves, birds, strapwork, bow and quiver of arrows, architectural details, vases and baskets of flowers, drapery, and netting. The plate is numbered and signed.
View of the Opera in Paris
, 1790–1795
Engraving on paper
Print

Horizontal rectangle. No. 76 of the same pubication as -1392. The houses flanking the open and structure opposite in the middle and background and rather heavy traffic are shown.The caption reads, besides the signature and the name of the publication: "VUE DU THEATRE DE L'OPERA / On voit dans l'eloignment les Portes St. Martin et St. Denis."
Console Tables
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Pen and ink, brush and wash on paper. At left, the leg in the form of a claw foot with griffin head. A frieze with rinceaux and two putti holding a portrait medallion and swags. At tight, a smaller table with paw foot, three bands of ornament and hanging swags.
Fragment
, late 18th century
linen on silk Technique: appliqué on net ground

Needle ground in small floral designs.