biglam/cooper-hewitt-alt-text huggingface dataset:
Metalwork Design
Babin, French, ca. 1750, ca. 1780
Etching on paper
Print

Design for ironwork/ metalwork - a lion supporting a coat of arms with scrolling leaf, foliate branches, and shell motifs, on the top of a gate. The plate is numbered and signed.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

Undulating flower boughs stand in a row over a border composed of scrolls with pomegranates and leaves; forked leaves are shown in the wedges.
Fragment
, 19th century
silk, metallic Technique: supplementary weft floats on plain weave foundation

Closely spaced floral repeat on tangerine foundation.
Design for an Altar Mensa
Giovanni Battista Piranesi, Italian, 1720–1778, 1764–66
Pencil, pen and ink
Drawing

In the opening of the altar mensa stands a bathtub sarcophagus with two lion's heads at the base below the dividing vertical strips. In the central panel are two crossed palm branches, a wreath and a PX.
Sketches for a Ceiling Painting: The Triumphant Church
Domenico Antonio Vaccaro, Italian, 1678–1745, ca. 1750
Pen and brown ink, brush and gray wash on laid paper; verso: black chalk
Drawing

A figure of a woman in the attire of a Pope is seated on clouds and supports the mantle of a church, together with angels. A dove flies above her; more angels are attendant at right. The woman addresses herself to the kneeling allegorical figure of "Strength," while "Abundance" gazes up to her. Angels and an escutcheon are shown in the lower center. Verso: rough sketch; "Abundance" seems to be seated beside the Church. An angel flies beside the lower part of the kneeling figure of "Strength."
Design for a Candle Bracket
Romain Girard, French, 1751 – after 1812, ca. 1770
Red chalk on paper
Drawing

Applique of two branches, composed of leaves. A bough with leaves and seeds, top center. The sockets stand upon petals.
Railroad in the Mountains, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of a railroad with a bridge through rugged mountains in Mexico. The railway's path visibly carves its way into nearly vertical cliffs and mountainsides in the foreground at left and right. In the middle distance at center, an immense bridge spans a deep gorge between two rugged prominences. In the background, serrated mountain ranges overlap on another.

Verso: Landscape sketch showing a view of a rugged mountain landscape with a railroad tunnel in Mexico. In the middle distance, two sheer mountainsides descend and coverage at center. The slope at right hosts a railroad tunnel on its edge, visible center fight. In the background, a range of sharp mountains extends obliquely into the distance.
Night Trek
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

Villagers are carrying heavy loads of up a steep mountainous trail in the middle of the night. Two men also carry an older figure who is unable to take the trimerous hike without help. Two massive red flames, each held by individuals, light the steep path.
Mountain Range with Palm Trees, Mexico
Frederic Edwin Church, American, 1826–1900, February 22, 1892
Graphite on beige wove paper
drawing

Landscape sketch showing a view from Mexico of two palm trees, in the foreground at left and right, framing a view of a flat and rugged mountain range in the background. The range rises out of an otherwise flat landscape that extends through the middle distance. A circular device--possibly a wheel--is separately sketched at center.
Design for a Silk Brocade, Fragment
, 1825–1850
Impressed squaring, brush and gouache on oily tracing paper
Drawing

Three rose boughts are shown in a horizontal row; the left one is a garden rose. Bottom: the tops of two staggered flower boughs.
Mountainous Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, 1892–93
Graphite on beige wove paper
drawing

Landscape sketch showing a view of a mountainous landscape in Mexico. In the foreground, a swath of black soil extends across the scene to an undefined body of water at lower right. A green expanse with trees fills the middle distance before encountering a range of foothills in the background. These foothills are backdropped by overlapping mountain ranges that ascend as they recede, culminating in a tall, rounded peak at upper center.
Ornament Panel Design
Alexis Loir, French, 1640 - 1713, ca.1660–1713
Etching on paper
Print

Ornament panel design with a central cartouche with two women dancing to a satyr playing a horn, framed by foliate scrolls, snakes, mask (mascaron), shell, flute playing fauns morphing into scrolling leaves, putti playing cellos, and a trophy of musical instruments including a lure, trumpet, flute, lute, and foliate branches. The plate is numbered
Entre-Toise d'un Carosse de Parade
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Crosspiece design for a carraige. The crosspiece features a crowned coat of arms with flower garland, bead course, interlaced piastre, and branches. The plate is signed and numbered.
Sunset in the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 30, 1866
Graphite on tan wove paper; verso: graphite
Drawing

Landscape and atmosphere sketch showing the sunset over mountains in or near the Hudson River Valley, likely the Catskill Escarpment as seen from the artist's property near Hudson, New York. The outlines of rolling, rugged mountain ridges stretch across the composition, with multiple prominent peaks at center and left. Above, layers of alternating puffy and wispy clouds are brightly it by the setting sun, which radiates beams of light from behind the distant mountain at center.

Verso: Landscape and atmosphere sketch showing a view of the darkening twilight sky over mountains in the Hudson River Valley, possibly the Catskill Escarpment as seen from the artist's property near Hudson, New York. At left, a rugged range of mountain peaks descends to flat terrain at right, while above, layers of shaded clouds hang in the darkening sky.
Fragment
, 17th century
silk, linen, and metal Technique: brocatelle

Swirling scrolls and leaves in mauve, brown and yellow.
Trees and Boulders near Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, October 1878
Graphite on white wove paper
drawing

Landscape and botanical sketch showing a view of three small, mostly leafless trees growing beside several boulders, shown at lower center, near the town and lake of Millinocket, Maine. Other trees and foliage are minimally shown in the background.
Old Cathedral at Brescia
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and bistre ink and brush and sepia wash on paper
Drawing

Horizontal rectangle. Interior of Old Cathedral at Brescia, looking toward apse. Female figure at left.
Design for an Overdoor
Piat Joseph Sauvage, French, 1744 - 1818, 1785-1790
Pen and ink, brush and bistre wash on paper
drawing

This alegory of painting and sculpture includes a putto painting a woman and another works on a portrait bust, held by another putto.
Fragment
, late 18th century
silk Technique: plain weave with continuous supplementary warp patterning

Light orange taffeta ground with vertical ribbon-like stripes and serpentine small-scale flowering vines passing behind stripes in supplementary warps of blue, rose, terra cotta, yellow, white and green silks.
Teaspoon with Bright Cut Engraved Floral Decoration
DH (Unidentified), ca. 1790–1800
silver
spoon

Oval bowl, the tapering stem with slightly curved rounded terminal, both bright cut with flowers and zigzags forming a monogrammed oval cartouche.
Pitcher
, 17th–18th century
clear and greensih glass

Clear glass spouted vessel with a light green tint.
Button
, 19th century
Copper, nickel-plated

1931-59-123: Flatt button ornamented with shield showing herald...
Textile fragment
, 19th century
silk, paper with applied gold foil Technique: plain compound satin

Pattern of dragons with flaming jewel, and flying clouds in colors and gold on navy blue ground.
Sampler
, 1780
silk embroidery, linen foundation Technique: cross, long-armed cross, and eyelet stitches on plain weave

Detached motifs including the coat of arms of the city of Amsterdam, two versions of the Maid of Holland, the spies of Eshkol, a ship, birds, flowers a row of crowns and a building typical of 18th century Amsterdam architecture.
Design for a Fountain
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Design for a fountain set within a niche of a wall. The water of the fountain spills out from the mouth of a grotesque mascaron into a basin with fish-scale decorated legs. The frame of the niche features rusticated ornamental clasps; on either side of the niche are carved trophies with attributes of the sea (tridents, crabs, urns). A graphite inscription at the bottom of the page indicates that this design was for a project for a fountain at Saint Cloud. The plate is signed and numbered.
Box and lid
Jean-Baptiste Réveillon, French, 1725–1811, 1780–1785
Block-printed paper on pasteboard support

Box covered with Réveillon wallpaper, featuring arabesque printed on light blue ground on cover, with narrow border running around edges. Bottom and inside are covered with French invoices.
Six Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Six designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, scrolling acanthus leaves, foliate branches, flowers, festoon of leaves, lute, horn, sheets of music, basket of fruit, shovel, palette, paint brushes, and an easel. The plate is numbered and signed.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache, graphite on glazed tracing paper
Drawing

A row of four hanging boughs, with a seed, three leaves, and a blossom in each of them.
Doorway with alternative suggestions
Giuseppe Barberi, Italian, 1746–1809, ca. 1785
Pen and brown ink, brush and brown wash, graphite on blued-white laid paper, lined
Drawing

A panel with molded arch projects slightly from rustic pilaster strips for which two alternative (?) designs are shown. Three keystones. Measurements indicated. Colored background, bordered by an ink line. Paper margins.
Design for a Fantastical Landscape with a Column
Maurice Jacques, French, ca. 1712–1784, 1756
Etching and engraving on laid paper
Print

A design for a fantastical landscape from a suite of six. In the foreground a part of a building in ruin with a broken fluted column on a plinth decorated with a cartouche and profile portrait. The ruins are overgrown with flowers and leaves. In the background trees, clouds, and birds. The plate is numbered.
Design of an Alcove with Windows
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for an alcove with three large draped windows with over-window reliefs in the style of antiquity. Between the windows are engaged fluted columns with Ionic capitals
Fragment
, 18th century
silk Technique: weft floats on satin foundation

Closely spaced repeat of 'botehs' facing in alternate direction. In gold and black on magenta.
Escutcheon, No. 4 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 4  of the same set as -10, "Raccolta di varii cappriccii," etc.
Design for the Letters C and D
N. Bruchon, French, active 18th century, 1775–87
Etching and engraving on laid paper
Print

In a central oval, within a rectangular frame, the interlaced designs for the letters C and D. The C is made up of flowers and leaves and the D of thin parallel lines. The plate is signed and numbered.
Sidewall
, 1805–10
Block printed on handmade paper

Vertical rectangle. Green field, sewn with crossed lines of darker olive-green; brown border top and bottom, with dark green band of foliage sprinkled with pink flowers. Two figure motifs in center of paper, with third motif displaying a cat. Mounted on masonite panel.
Africa
, 1750–1775
Brush and watercolor on paper, mounted
Print

A ruler wearing a plumed turban holds a scepter with a crescent top and smokes a long-stemmed pipe; seated on a throne. A woman, seated at right, plays a stringed instrument. A lion is at left. Border of fuirt, flowers, and rocaille, with a turban at top center and at bottom center an escutcheon with the word "l'Afrique". Bottom, left of center: "A Paris chez Crepy rue S. Pierre. Avec Privilege du Roy".
Towel end
, 19th century
linen Technigue: braiding

Originally from a towel that was woven and then the ends were braided to form a fringe. The fringe has since been trimmed off the towel. It has a pattern of crosses and quatrefoils.
Walls of the Grand Cañon, Colorado River
Thomas Moran, American, b. Britain, 1837–1926, ca. 1875
Wood engraving on cream wove paper
Print

Close-up view of walls of canyon. Tall cliffs, river below leading up to small waterfalls and narrow opening where light shines through.
America
Giovanni Volpato, Italian, 1740 - 1803, 1740–1803
Etching, brush and watercoor on paper
Print

Allegory of America
The Conversation
Constantin Guys, French, 1802 – 1892, 1858–60
Pen and brown ink, brush and tan and blue washes over graphite on thin white wove paper
Drawing

Vertical rectangle with trimmed corners. Figure of a woman, side view, facing right, wearing a poke bonnet and shawl and carrying a muff. She is talking with a gentleman seen in three quarter front view wearing a high hat, light trousers, cutaway coat and carrying a cane.
A Pitcher
, 1650–1700
Graphite, pen and ink, brush and bistre wash on paper
Drawing

Obliquely shown from the handle, which is formed by a scroll. The spout is at right. Two putti are near the handle. The body is decorated by festoons which are supported by the half-figure of a harpy at right and a bearded mask at left.
Study of Wild Azalea
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor on gray paper
Drawing

Vertical sheet depicting white and pink wild azalea blossoms with green foliage on recto.  On verso, sprays of dogwood.
Jug
Christopher Dresser, Scottish, 1834–1904, 1880–82
Glazed earthenware

Cylindrical body flaring to circular foot; circular mouth with rising, elongated spout; squared, angled loop handle. Overall yellow-brown glaze, mottled and finely crackled.
Embroidered picture
Miss A Grubb, 1775–1825
wool embroidery on linen foundation Technique: embroidered in counted stitches

Allover embroidered panel showing a basket filled with naturalistic flowers hanging from a branch of a tree stump growing from a small mound. Three butterflies hover at the top.
Bag or head covering
, 5th century
wool Technique: sprang

Fragment of headcovering or bag striped alternately red and green, with pattern of decorative holes.
Pleated fan and case
Tiffany & Company, American, established 1853, late 19th century
Silk bobbin lace leaf, tortoise shell sticks

Pleated fan. Black chantilly lace leaf. Brown tortoise shell sticks. Black cardboard box with black satin top marked "Tiffany & Co."
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1800
cotton Technique: block printed (reds, yellows and black), blue may have been applied by brush on plain weave

Curving stems with roses surrounded by a tiny leaf pattern on a dark background.
Design for a Mass-Operational House Designed by Hector Guimard, Staircase Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing staircase construction.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. Olive green ground with light green pattern.
b. Olive green on olive green.
c. Gold color on gold color.
Hommage d l'Amerique a France
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1785
cotton Technique: printed by engraved plate on plain weave foundation
Textile

A standing figure symbolic of America with attendants bowing to a seated figure of France. Subsidiary scenes are nautical and rural.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Ground uniformly striped in lavendar, white and grey, the grey consisting of a small geometric floral pattern on white. Overprinted with symmetrical pattern of pinks in lavendar, white, grey and green.
Figure of a Boy on a Ram (One of a Pair)
, late 18th century
biscuit
figure

Boy in military uniform, with  military decoration, astride a goat. Mounted on base, of which upper surface suggests the ground; sides formed of foliate scrolls.
Fragment
, 10th–14th century
silk on linen Technique: plain weave with supplementary weft patterning (brocaded)

Two squares broceded in a geometric pattern in blue silk. fragment has been cut on the bias.
Sash
, 19th century
wool Technique: diagonal interlacing

Long and narrow sash with fringes at each end with pattern of chevrins. known as 'ceinture flêche'.
Edging
, 19th century
linen Technique: bobbin lace

Provincial style lace or early student work.
Via crucis - Station VII, He Falls Beneath the Cross the Second Time
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

First state
Fragments
, 19th century
silk, metallic thread Technique: supplementary warp pile (velvet), cut and voided

Probably 19th century reproduction velvet with a pattern of small floral branches, lions rampant and eagles. Four pieces joined.
Two Brown-and-Yellow Birds on Branches with Carnations and Insects
, ca. 1800–1830
Pen and ink, graphite on wove paper
Drawing

Two Brown-and-Yellow Birds on Branches with Carnations and Insects
Fragment
, possibly 16th century
silk, metallic Technique: two integrated structures; plain weave plus plain weave

Niskhi inscription in gren on gold.
Bobbin and carriage
A .G. Jennings & Sons, American, ca. 1884
steel and brass

Bobbin is a brass disc with square opening (8 mm) in center. Carriage is (roughly) triangular in shape with opening to fit bobbin and holes to carry thread. For lace-making machine
Coppa
Giorgio Andreoli, Italian, b. 1465, 1526
Tin-glazed earthenware (maiolica), overglaze lustre
Plate

Maiolica dish with image of a man with a hat playing a violin in a landscape with a yellow sky. Iridescent overglaze luster.
Fragment
, 15th century
wool, cotton Technique: single interlock tapestry

Fragment, interlocking eccentric tapestry. Narrow strip of tapestry, in red, black, yellow, brown and white; pattern of two rows of squares. Top row contains naturalistic butterfly, life size, and close arrangement of lotus forms, alternately; bottom row, the same butterflies and a group of geometric shapes set above a mound. On either side of tapestry strip extends all-cotton reps ground, dun-colored, S-spun undyed cotton; wefts: tapestry, polychrome unspun wools, rather fine; ground, very fine thin unspun, undyed cotton. No selvages present. One loom-ending.
Border
, late 18th century
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Small floral sprays extend from the edge turning alternately right and left. Ground has tiny blossoms.
Drapery Study
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on cream wove paper
Drawing

Drapery study for figure facing right.
Hampton Court Palace
Joseph Pennell, American, active England, 1857–1926, 1906
Etching in black ink on laid paper
Print

View from far end of the reflecting pool, with Sir Christopher Wren's facade shown in the background. Trees in rows, left and right.
Livery trimming
, 17th century
silk Technique: woven

Design of a red galero (hat with tassles) over an eagle with a shield showing heraldic devices alternating with a dragon-like creature in red, pink, blue and green on a white ground.
A Roman fountain (Counterproof)
Hubert Robert, French, 1733 – 1808, 1793
red chalk on paper (counterproof)
drawing/ counterproof

Vertical rectangle. A woman lets a little girl drink from a pitcher on the steps leading to the front of the basin. A boy and a woman washing laundry are further present. A cow drinks from a trough, into which water runs from the basin. Mountainous landscape.
Nude woman leaping
Pietro Montana, b. 1890, ca. 1910
Charcoal and white heightening on grey paper
Drawing

Vertical rectangle. A nude woman, turned half-right is shown in the act of leaping, her arms raised over her head. Signed (in charcoal): "P. Montana".
Fragment
, 17th century
silk, linen(?), metallic Technique: two integrated fabric structures

Cartouches with checked brackets at the intersections framing blossoms. Red and yellow.
Box and cover
, 1785–95
sharkskin (shagreen), wood, silver

Hexagonal form with pointed cover of six facets; body straight-sided. All panels defined by narrow silver moulding, roped or filleted. Caddy furnished with six rope-moulded globose feet, one for finial. Catch button fronts cicular repoussé plate with design of two leaves and flower. Interior of polished walnut.
Headcovering
, late 19th–early 20th century
silk and metallic thread on cotton Technique: embroidered on plain weave

Firm white cotton cloth with large irregular medallions in dark rust with touches of blue and green; metallic thread around border. Narrow embroidered edge in same colors. Tassels on four corners.
Study of Nude Figure
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Graphite on cream wove paper
Drawing

Study after the model. Sketch for the upper part of the body, the lower being outlines, and for the left eye, breast, forearm, and hand. Verso: a part of the plan, labeled "Hall" in graphite; with blue crayon: "S", "E", "N"
The mousetrap
Charles Emile Jacque, French, 1813 - 1894, 1860
Etching in black ink on India paper
Print

Horizontal rectangle. A mouse-trap of four traps in which three victims are caught.
Fragments
, 17th century
silk Technique: supplementary warp forming cut and uncut raised pile in plain weave foundation (velvet)

Vertical stripes of small scale pattern; brown green and blue on ivory.