biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
, 1890–1900
Machine-printed, mica powder

Rococo scrolls alternate with festooned sprays of roses. At top of frieze is a small band of scrolls. At the bottom is another band of roses. Portions of design are in ice-blue powdered mica. The field is old ivory. Printed in blue on ivory.
Wall with Chimneypiece and Mirror
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Design for an interior wall decoration with applied ornamental stuccowork.  At center, a chimneypiece with a large mirror above. At either side, partial views of doubledoors, each with an overdoor painting above depicting architectural ruins. The pilaster panels are decorated with trophies. Scale at lower right.
Young Woman in a Thoughtful Attitude
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Young woman sits at a table, her left hand to her chin, facing right, in profile.
Elevation et Coupe de niche
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation and cross section (at left) of a niche decorated with ornament motifs including leaf garland, rosettes, and lamb tongue. The plate is signed
Abduction of Proserpine on a Unicorn
Albrecht Dürer, German, 1471–1528, 1516
Engraving on off-white laid paper
Print

Pluto, riding a unicorn, galloping out of a swirl of sea-foam on the rocks at left, carries off the young Proserpine. Above, swirling clouds display the monogram of Dürer and date "1516".
Study: A pair of hands, crossed
, 1750–1775
Charcoal and white heightening on blue paper
Drawing

Vertical composition of a pair of crossed hands. On the reverse, horizontally, are parts of the back and of the head of a nude, on the reverse of 1901-39-2747; -2746 belonging originally to the same sheet of studies as -2747
Design for a Brooch
, 1850–75
Pen and ink on paper
Drawing

An escutcheon contains a comparatively small diamond; in the center above the mask of a lion. Scrollwork surround. Below hangs a pearl.
Handscreen
, early 19th century
Block or stencil-printed paper leaf with applied lithograph, turned wood handle

Handscreen with a hexagonal leaf; circular medallion with a female figure in classical dress playing with a cherub. Surrounded by stenciled or block-printed borders of stylized floral oranment in brown and white.
Design for Fountain with Venus
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for a fountain in a square, decorated with sprays of plants, nymphs holding vases, dolphins, anguipeds, and shells. The plate is signed and numbered.
Elevation of a Town Mansion
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white paper
Drawing

Wings of three bays and three stories each are connected by a central section having two stories. Eight embedded Doric columns support an entablature. A balustrade with statues on top. A door is in the center of the central section of the ground floor. Laterally are arched openings with railings in the bottom parts. Windows are in the top story. A lantern, pierced by windows, and a dome are in the rear. The wings have doors in the centers of the ground floors. The right wing is not entirely shown. Measurements indicated. Bottom left, thr rough pen sketch of the head of a woman.
Altar and Tomb Design
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Designs for, at left, an altar, and at right, a tomb. Between the two are the profiles of the carved cornices. The plate is signed and numbered and a graphite inscription at the bottom of the page indicates that these designs are based on those of Palladio.
La dame au châle (Lady in a Shawl)
Constantin Guys, French, 1802 – 1892, 1840–60
Pen and brown ink, brush and purple, tan, and blue wash, graphite on white paper
Drawing

Vertical rectangle, bevelled corners. Figure of a woman outside walking, facing three quarter view front, wearing a poke bonnet with blue ribbons, a black velvet three quarter coat edged with fringe, a grayish lavender skirt, and carrying a brown fur muff.
Band
, 19th century
cotton or linen Technique: knot and satin stitch embroidery

Standing collar (cut from man's shirt) embroidered in knot and satin stithches in deisgn of small four-petalled flowers set within large diamond shapes; buttonholed on three sides; two worked buttonholes.
Textile
, late 18th–early 19th century
silk on silk Technique: chain stitch on satin foundation

Rectangular piece of cream-colored satin showing a continuous meandering vine and flower pattern embroidered along three sides of the panel. Inside are small, isolated flower sprigs.
Design for Sculpture of the Winged Lion of Saint Mark
, ca. 1700
Pen and ink on paper
Drawing

On a plinth, the winged lion of Saint Mark holds a book with one paw. The page showing the writing: SAN/ CTV/ S MA[A] / CHV / S".
Title Page and Arabesque Panel Designs
Juste-François Boucher, French, 1736 – 1782, 1768–75
Etching on paper
Print

Two vertical arabesque panel designs printed on two separate plates. The left plate, includes the title page, lettered on a hanging textile banner with a winged male mascaron (mask). The designs feature, vases, flowers, scrolling leaves, festoons of leaves, mascarons (masks), Women, rosettes, and egg pattern molding. The plates are numbered.
Three Preparatory Sketches
, early 18th century
Red crayon in fibrous light brown paper
Drawing

Horizontal rectangle. From left to right: a right hand holding an object; a drapery study; the left foot as seen in 1901-39-2852 and 1901-39-3051.
Textile
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Off-white organic forms on dark blue ground filled with creeping vines in tan showing different, dark blue, leaf and floral designs at the ends. Interspersed off-white dots with indent throughout ground.
Boutons de Rose
Charles-Germain de Saint-Aubin, French, 1721–1786, 1757–68
Etching on paper
Print

A floral bouquet of Boutons de Rose, sprigs with flowers and leaves tied together. The plate is titled and numbered.
Bag
, mid-19th century
glass beads, silk, kid Technique: beaded knitting

Knitted bag with colored glass beads in design of a band of flowers on a white ground, with a band of blue above and yellow below. Silk ribbon at top for closing; bead fringe at bottom; kid lining.
Exterior Elevation of a House
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Exterior Elevation of a House.
Rock in Panama Bay
Frederic Edwin Church, American, 1826–1900, May 15, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch of a rocky island situated in Panama Bay, Panama. Tallest portion of the rock is visible at center, with a steep drop-off at left. Numerous birds are perched on several of the island's lower rocks, while several others fly above. This chain of birds extends toward the horizon.

Verso: Botanical sketches from Ecuador showing, at left, several trees covered in a mass of dense vines, and at right, a seemingly dying tree with several barren branches.
Bergere en Cabriolet Ornée de Sculptures et totalement finie
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for an armchair decorated with striped textile and carved ornament motifs including guilloche, fluting, and a wreath with crossed branches. To the right of the chair is a profile view and details of the carving at the top and around the base of the chair. The plate is signed and numbered.
Dessein de Cheminée et de Lambris de l'invention du Sr. Pineau
Nicolas Pineau, French, 1684-1754, 1700-1742
Etching and engraving on paper
Print

Chimneypiece design with an over mantle mirror and paneling on either side. Above the side panels are rondels: the left one features a portrait of a man holding a book; the right one features a woman with a bared breast, draped with cloth and flowers. The fireplace features scallop designs on the sides and center. The frame of the mirror is decorated with ornamental leaves at the bottom, and a mascaron at top, branching off of which are scrolls, garlands, dragons, and a vase of flowers. The plate is not signed or numbered.
Painting Decoration of a Pilaster Strip
Giacomo Casa, Italian, 1835 – 1887, ca. 1860
Graphite, pen and ink, brush and watercolor on paper
Drawing

A vertical panel with a candelabrum motif. At center, a strapwork escutcheon with a mask. Below, a figure with a blue ribbon. Above, two putti.
Design for a Painted Wall Decoration, with Alternative Suggestions
Unknown, Austrian, 1835–40
Brush and watercolor, gouache, graphite on heavy white wove paper
Drawing

Design for a wall covering with rows of great petals alternating with staggered petal rosettes. A colorful green and purple garland trims the top. At the bottom, a gray strip indicates a dado while across the top alternating gray and white stripes indicate an entablature. The color way is ochre and white, with the pattern rendered in reverse at the bottom of the design. The entire design is bordered by a thick black line.
Frieze
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1900–05
Machine-printed, distemper colors

Frieze shows mounted hunters in red coats, with hound dogs, against a landscape background in which green prevails. Filling shows a landscape without figures. Stamped on each upper margin: Carey Bros. W.P. Mfg. Co., and on frieze: 3248.
Cape North, Cape Breton, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite on gray-green wove paper
Drawing

Seascape and landscape sketch showing a view of the coast of Cape North on the island of Cape Breton in Nova Scotia, Canada. The ocean waters comprise the foreground and much of the middle distance, while in the background the steep, rugged coastal hills of Cape North rise prominently. The cape is closest to the viewer at center right and recedes diagonally into the distance at left and right. The sky above is open and clear.
Painter at Easel
Michael Hartwagner, German, d. 1775, 18th century
Etching and engraving on off-white laid paper
Print

Scene of a painter at an easel with a canvas representing an older woman. In the background, a woman grinds pigments. The plate is signed.
View above Wadi Barada, Syria, Part One
Frederic Edwin Church, American, 1826–1900, May 4, 1868
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view looking west over the Wadi Barada--a river and canyon northwest of Damascus, Syria. This description refers to the entire view, comprising two leaves, including 1917-4-655-b. At lower center, the Wadi Barada, highlighted in white gouache, snakes its way through a steep and narrow canyon with abrupt walls on either side. A large, rugged prominence dominates the left side of this view, while at right, a rocky outcropping and the sheer cliffs beyond are visible in the foreground and middle distance. A barren, extremely rugged landscape stretches across the background with one sharp peak at upper center and several hill ranges at left and right.
LA SALLE DU BAL
Adam Perelle, French, 1638 – 1695, 1680–1703
Etching on laid paper
Print

View of a bosquet (grove) in the gardens at Versailles, featuring stairs, cascading fountains, planted vases, torchères (candlestands), trellis walls, and trees, with figures (courtiers) seated and walking within. The plate is titled with a description of the bosquet below.
Alcove with a Bed and Figures
Jean Le Pautre, French, 1618–1682, 1655–57
Etching on laid paper
Print

A figure lying in a bed within an alcove with a male figure holding a sword and wearing a feathered hat to the left of the bed. The bed canopy is topped with feather finials and hung with textiles. A tapestry along the back wall, and balustrade in front. The canopy is flanked by ornately carved moldings and overdoor panels, and in the center above, an oval cartouche framed by putti and festoons of flowers and fruit. A statue of the Roman god Mercury on a plinth to the left, and a standing female figure on a plinth to the right. The plate is numbered and includes the publisher's address, with a scale below the scene.
Landscape with Farm
Vincenzo Martinelli, Italian, 1737 - 1807, 1775–1800
Black crayon on paper
Drawing

View of a farmhouse seen from across a terrain with a classical structure in ruins from which a tree rises. An opened garden gate stands.
Lampe
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a pendant lantern with bead and leaf chain, a shell body, garland, and rinceaux. The plate is signed and numbered.
Desert Landscape en route to Petra, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 19, 1868
Graphite on white wove paper; verso: graphite
drawing

Landscape sketch showing a view of a mountainous desert landscape in present-day Israel, observed by the artist while en route to Petra. In the immediate foreground at lower, a pile of crumbling rocks is loosely sketched. In the middle distance at center, a group of camel riders grow smaller as they recede into the distance. In the background at center, a rocky mountain with a rounded peak is prominently visible beneath sunbeams that cascade down from above. Rugged, mountainous terrain extends into the extreme distance at left and right. 

Verso: Figure sketches of camels and their riders, observed in present-day Israel while en route to Petra. Along the upper margin, three sketches of a camel are visible: at left, the whole camel viewed obliquely from the rear, at center, a camel's rear leg viewed from the side, and at right, a detail of the camel's tail and rear leg. At center, two Bedouin riders are loosely shown from behind. At lower center, two other riders holding long spears are sketched smaller.
Sidewall
, 1760–65
Block printed on handmade paper

Vertical rectangle of joined sheets of paper. Large flowing design of foliage and flowers in the manner of Jean Pillement's Indian design. Printed in orange, blue, and greens.
Book Ornament of a Classical Ruin with the Medallion Portrait of Francesco Algarotti (1712-1764)
Mauro Antonio Tesi, Italian, 1730 - 1766, ca. 1760
Etching on laid paper
Print

Portrait to right; behind the head is printed 10-letter word in Greek alphabet.  Under the medallioin is a relief showing a compass, a wreath, and a lyre.
Stage Design, Buildings on Riverside
Alessandro Sanquirico, Italian, 1777 - 1849, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Buildings in Gothic style on both sides of river, boat on shore in the foreground to the left.
Alterations to 14 15 16 Washington Square North, Sketch No. 24
Maynicke & Franke, March 20, 1922
Graphite on cream paper mounted on board
Drawing

Drawing shows several designs, for the alterations of two buildings, including a porch, balcony, iron fence, and 2nd story window, and 1st floor lintels. There are measurements throughout. Left: ELEVATION OF PORCH / SCALE ¾" = 1'-0"; center: ELEVATION OF BALCONY #15 / SCALE 1 ½ - 1'-0"; right: SECTION OF BALCONY; lower left: DETAILS OF PORCH & IRON BALCONY / #15 WASHINGTON SQ. NORTH
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Three lines on upper center of the sheet outlining the form of a figure.
Nouvelle Suitte de Cahiers Chinois, Plate 3
Jean-Baptiste Pillement, French, 1728–1808, ca. 1780
Etching in colored ink on paper
Print

Chinoiserie design composed of flowers, fishing nets.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for trophies incorporating foliate branches, festoons of flowers and leaves, potted succulents, baskets and cornucopia of fruit and flowers, cage, rake, hat, arms and armor, flag, spear, watering jug, scythe, book, and feathers. The plate is numbered.
Sidewall
, 1890–1900
Machine-printed

Floral motif, large scaled flowers with large petals in pastel chrome yellow and sage green, very delicate shades, on ivory field. Flowers and leaves outlined in gilt. No. 1939-33-46 is the border to this wall paper.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Third 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 trellis, fleurons, foliage, rinceaux, scrolling leaves, cartouches, architectural details, herms, incense burners, vases and baskets of flowers, birds, beading, fluting, drapery, rosettes, and a diaper pattern. The plate is numbered and signed.
Skewer with Horse Head Terminal
, 19th century
silver
skewer

Flat, tapering blade or pin with a cast relief horse head terminal.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

The Child sits upon a cushion, lifting his right left and holding his right ankle with his right hand. The right shoulder covers part of the chin. Mary, standing behind him, holding his left arm with her left hand. A bird in his left hand. Part of the sky visible, clouds, the sun. Framing line.
Border
, 1860
Block printed on paper

Two stripes, composed of two separate friezes.; b) upper with leaves in link design on pink field, a) lower cream field and leaves on curved stems surrounding acorns.
Sopha Orné de Sculpture et totalement fini
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a sofa decorated with a striped textile and fringed drapery. The sofa frame is carved with ornament motifs including pine cones, fluting, rosettes, acanthus leaves, scrolling vine, and floral garland. Around the sofa are details of the carving, including a profile and frontal view of the sofa leg, the pinecones at the corners, and the band of scrolling vine. The plate is signed and numbered.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of red and yellow chevrons between red borders and on a pale blue ground.
Ecran et Veilleuse à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two burners and a screen. The burner on the left is carved with fluting, acanthus leaf, and garlands; the burner on the right is open acanthus-leaf work with garlands, a scrolling vine, and lamb tongue. The center standing screen features decoration including shells, fluting, wave pattern, ribbon twist, fluting, and acanthus leaves. The plate is signed.
Ornements pour Moulures et Cadres
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for moldings and frames featuring ornament motifs including acanthus leaves, bound reed, lamb tongue, rondels, egg and dart, bead and bar course, fluting, rosettes. The plate is signed.
Ecran preparé de Menuiserie orné de Sculpture
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a screen, including the designs for the carpentry joinery and the final product, as well as details of the carving of the feet and its joints. The finished screen is decorated with ornament motifs including ionic capitals, fluting, bead course, rosette, acanthus leaf, and, at top, and eagle clutching a torch and a quiver, from which hangs two tassels. The plate is signed and numbered.
Tamarind Tree, Jamaica
Frederic Edwin Church, American, 1826–1900, July 1865
Graphite on tan wove paper
Drawing

Botanical sketch of a tamarind tree in Jamaica. The tree's many boughs, as well as its numerous leaves, are rendered with a moderately high level of precision. Other trees are visible near its base, where the artist's hand begins to loosen.
St John the Baptist in the Wilderness
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1588
Engraving on paper
Print

St John the Baptist in the Wilderness; to the left, St John sits upon a rock by a stream holding a dish, his reed cross propped up on a rock beside him; a ray of divine light, with Hebrew letters symbolizing God, emanates from above; to left, water pours from the rocks into a pool below, from which a lamb drinks in the foreground; a mountainous landscape behind.
Band
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool. Technique: slit tapestry with supplementary weft wrapping.

Row of interlocked circles within guard bands.
Iceberg Sketches, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Graphite and white gouache on brown wove paper
Drawing

Seascape sketches showing seven views and details of icebergs floating off the coast of Newfoundland and Labrador, Canada, roughly organized into two vertical rows. At upper left, the jagged, cragged top of an iceberg is faintly visible. Below it are two icebergs: the uppermost one highlighted in white gouache, while the lower one is roughly cubic in shape with a tall pillar beside it at right. At upper right, two details of irregularly frozen ice are included. Below it, three views of a single iceberg are shown. It appears to turn leftward as the artist shifted perspective by sailing around it to the right.
Profil de l’Hostel Tubeuf du costé de la court
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural elevation of an exterior façade of a Parisian hôtel particulier (grand house) including two sectional views of the interior, featuring windows, pilasters, and a balustrade. Numbers (measurements) printed on different details. The plate is titled and signed.
Perspective de la Ville de Paris veüe du Pont rouge
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of city from the perspective of the Red Bridge with boats, and figures in the foreground, buildings lining the river. Bridges, and buildings in the background, including Notre Dame Cathedral. Buildings are numbered with an explanatory legend below. The plate is titled and signed.
Four Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four designs for borders, stacked vertically on the plate. From top to bottom, the borders are in the forms of:  medallions with beading around their edges and rosettes within, and acanthus leaves in the margin; a guilloche of flowers with interlocking c-scrolls in a central medallion plane; wreathes of flowers alternating with rondels of beads, inside which are lozenges with rosettes; and interlocking rondels of beads and plain circles. The plate is signed and numbered.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Lidded vase design with a pinecone finial. The vase a band of meander at its neck. There is a mask at the center of the shoulder of the vase, over and around which is draped a cloth. The vase has a narrow foot and is elevated on a small plinth. The plate is not signed or numbered.
Fragment
, late 18th century
cotton Technique: copperplate printed on plain weave

Textile fragment. Figures play "blind man's buff" in a rustic setting with water fowl. Above, a man pushes a woman on a swing while dogs look on. Behind stands a man and woman with picnic basket. Each piece is composed of several pieces sewn together.
Study of perspective
Kenyon Cox, American, 1856–1919, ca. 1900
Graphite on paper
Drawing

Sketch of a corner of a building with detail and perspective lines from one vanishing point.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs rosettes, acanthus leaves, and c-scrolls. The plate is numbered but not signed.
Europe
, 1740–1770
Etching on paper, mounted
Print

A crowned woman sits on a chair with lion head and foot, with a cornucopia beside her. A man at left presents to her a model of a building. Another is at right, with a horse. In landscape. Symbols of authority, attributes of war, the sciences, and the arts in the foreground and in the ornamented border. Bottom center: "EVROPA".