biglam/cooper-hewitt-alt-text huggingface dataset:
The Four Evangelists, Study after Giambologna
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over black chalk on white heavy wove paper
Drawing

Upper drawing of Four Evangelist, in pairs; at left St.Luke and St.John; at right St. Matthew and St.Mark, all with attributes. Lower drawing of two pairs of Saints, or Doctors of Church, all with books; at left, Saint with flat hat--St. Anthony Abbot(?), and saint who is Pope; at right, two Bishop Saints.
Summit of the Sierras
Thomas Moran, American, b. Britain, 1837–1926, 1874
Wood engraving on cream wove paper
Print

View of mountainous landscape with snowy peaks in background, pine trees in middle ground, and rock formations in foreground.
Project for the Interior of the Sacristy of St. Giovanni de’ Florentini in Rome
Giuseppe Palazzi, Italian, 1740 - 1810, late 18th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

Section. At left is a window. At the opposite side is a cupboard, whose lower part is for vestments. The long vault is decorated in the center with an alter retable. Laterally are panels with pictures hung over them in the vault.
Fragment
, 17th century
silk Technique: 4&1 satin damask

Confronted lions supporting shield shapes, kneeling grotesque figures and others, in red and white.
Letter case
, late 18th century
silk, mica, bast fiber Technique: fragments of woven silks, mica and needle lace on a wire armature wound with bast fiber

A purse in envelope form with a three-lobed flap. Small fragments of 18th century dress brocades are covered with mica to fill openings in straw needle lace. Edged with silk and metal braided cord; lined with green silk.
Ornament Designs
Georg Leopold Hertel, German, active ca. 1780, mid- 18th century
Etching on off white laid paper
Print

Designs for nine ornament motifs, featuring elements including scrolls, rinceaux, batwing, vine, and garland. The plate is signed and numbered,
Man
Robert Frederick Blum, American, 1857–1903, 1881–1883
Graphite on wove paper
Drawing

Recto: Sketch of a male figure bowling; Verso: Sketch of a dog.
Title Page
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Title page for a series of Parisian architectural views and cityscapes. The title is lettered in the center of a triumphal arch gate within a garden, with walls flanking on either side. Fountains, vases, trees, and figures in the foreground. The arch features sculptures (statues), and columns. The plate is signed.
Near Jericho, On the Road to Jerusalem
Daniel Huntington, American, 1816–1906, ca. 1878
Graphite on paper
Drawing

From a high ridge, through a valley, looking toward the Dead Sea, with mountains beyond.
Commode à la Dauphine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a dresser with curved, acanthus leaf styled legs. On either side of the dresser are inlaid vases with bouquets of flowers. The plate is signed.
Two Chimneypiece Designs
Jacques-François Blondel, French, 1705–1774, 1727
Etching on laid paper
Print

Two chimneypiece designs with over mantle mirrors. The shelf of the chimneypiece on the left features portrait medallions on the upper corners; there is a mascaron in the center. Halfway up the mirror are engaged candelabra on both sides. Above the mirror, within the mirror frame, is a Roman military portrait medallion; sitting on the frame on either side is a winged figure. The one on the left holds leaves, the one on the right blows a horn. The frieze under the cornice features ornamental designs in the corners, and a military trophy in the center.
Design for a Daybed
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered daybed with a carved frame featuring festoons of flowers, shells, fluting, rosettes, scrolling acanthus leaves, birds, and an incense burner. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Border
, 16th–17th century
silk embroidery, linen foundation, glass beads Technique: embroidered using double running and overcasting stitches with deflected element work on plain weave foundation

Linen border with silk fringe on one long edge, completely covered with deflected element embroidery in yellow silk. The pattern areas are reserved in the linen ground fabric, along with one long rectangle reserved as if for an inscription. Paired confronted cherubs alternate with interlocking branches terminating in human heads at both ends. All motifs are outlined in green silk; black beads for eyes; red beads as centers of rosettes.
Three Putti
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Three winged putti in the clouds, holding onto a piece of fabric with an eagle in the lower right. The plate is signed and numbered.
Band
, early 19th century
linen Technique: tambour work on net

Net band with tambour embroidery in floral spray design. Border of small ovals forms scallop along bottom edge. Tiny dots over ground.
Justiniano de la Rosa of Barranquilla, Colombia
Frederic Edwin Church, American, 1826–1900, May 7, 1853
Oil and graphite on cardboard
Drawing

Portrait sketch of a young boy named Justiniano de la Rosa, a local inhabitant of Barranquilla, Colombia. Situated between a three-quarters and a frontal portrait, Justiniano looks toward the viewer and seemingly over their right shoulder. He has amber brown eyes and dark brown hair that is parted at right. He wears a dark coat and a white, collared shirt with a white necktie. The background is a warm greyish beige color, shaded at lower right.
Designs for Painted Panels
Claude-Louis Desrais, French, 1746–1816, 1788–90
Pen and ink, brush and white gouache and sepia washes, black chalk on two pieces of off-white laid paper, joined
Drawing

A candelabrum with two half figures carrying a vase upon which a fantastic bearded animal rests. Snakes growing from his head hold a censer upon which are two putti. Emerging from the wheel of fortune are two cornucopia with terrible and marvelous gifts. At top, a blindfolded nude woman with coins and a banner stands below a military trophy.
Autumn in the Green Mountains, Vermont
Frederic Edwin Church, American, 1826–1900, September 1848
Oil on tan wove paper
Drawing

Landscape sketch showing a view of autumn foliage in the Green Mountains of Vermont, with Edmund's Peak prominently visible in the background at right. In the foreground, a log fence divides various pastures and meadows. The parcel of land at center is covered with red and orange fall foliage while several trees around it are similarly colored. At right, an expansive meadow extends into the middle distance, where a dark, heavily wooded ridge ascends to a rounded prominence at left--likely Walker Mountain near Clarendon, Vermont. In the background, another dark ridge is visible, featuring a sharp, triangular mountain at right known as Edmund's Peak (the same mountain featured in Church's finished work "Ira Mountain, Vermont," whose title is a misnomer). Above, bands of grey clouds stretch across the sky amid patches of blue.
Embroidered picture
, 1800
silk embroidery on silk foundation Technique: embroidered in stem, speckling and satin stitches on plain weave foundation

Rural landscape with a figure carrying a scythe over his shoulder returning to a cottage.
Bed cover
, 19th century
linen, wool Technique: continuous supplementary wefts free floating from face to face in a plain weave foundation. Pattern would have required 16 harnesses.

Bands of squares alternately red on brown or green on green connected by rows of diamonds. Narrow band of flowers create borders at top and bottom. Woven tape with two-inch long weft loops for fringe sewn to four sides.
Cupid
Francesco Bartolozzi, Italian, active England, 1727–1815, 1777
Stipple engraving in purple ink on paper
Print

Ovoidal medallion showing the half-figure of Cupid holding the bow in his left hand.
Panel
Eleanor Garnier Hewitt, American, 1864–1924, late 19th century
silk, metal frame Technique: embroidered on grosgrain

Sqare panel of white grosgrain stitched onto an embroidery frame showing an unfinished embroidery design in an eighteenth-century style worked with light blue silk. Extra silk rolled up and attached to the frame.
Hunting Scene: Birds in a Landscape
Jean-Baptiste Huët, French, 1745–1811, 1772
Etching and engraving (crayon manner) in red ink on paper
Print

A bird of prey (probably a falcon) wearing a hood with wings outstretched perched on a hunting rifle with two dead birds on the ground within a landscape with trees and foliage. The plate is signed, dated, and numbered.
Table scarf
, 19th century
cotton Technique: embroidered

Rectangular table scarf with round center piece and two five-sided pieces embroidered finely in white cotton floral design. Corners and filler pieces in embroidered net; lace edging.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Sketch of a woman's head, looking up and to the left.
Fringe
, 18th century
silk Technique: woven

Fringe in gold, yellow and white with a plain-woven heading. Skirt threads, looped to form gold, yellow and white stripes, are scalloped.
Design for a Decorative Panel
François Marie Isidore Queverdo, 1748 - 1797, 1788
Etching and engraving on paper
Print

A design for a narrow vertical decorative panel titled and featuring a Chinese-style pavilion in the form of a tent with seated male and female figures playing a drum with water and swans in the foreground, surrounded by and topped with scrolling leaves, snakes, vases, flowers, bells, vignettes, birds, a dragon, and musicians. The plate is signed, numbered, titled, and dated.
Scroll cover (sutra cover)
, late 19th century
cotton and silk Technique: printed by engraved roller on plain weave

Scroll (sutra) cover of printed cotton lined with yellow Chinese silk. Chintz printed in geometric pattern with sprays of roses. Chinese silk lining has floral pattern as well.
Sketch of Landscape
Walter Clark, American, 1848–1917, 1884
Graphite on paper
Album page

Trees are shown in the right foreground standing at the edge of a stream. A house is shown in the left distance.
Seated Shepherd Playing with a Dog
Jean-Baptiste Huet, French, 1745 – 1811, 1770–75
Crayon manner engraving on heavy cream laid paper
Print

Crayon manner print in red-brown ink.  Young boy is seated on the ground facing left.  He leans against a shoulder bag and cape[?] and holds a shepherd's walking stick in his right hand.  He gestures to the little dog (at his left), who stands up on hind legs in a begging pose.
Side chair
, late 18th century
Parcel-gilt fruit wood

Open square back with design of one full and two half-circles interlocked, with a pierced cartouche at the mid-point.  Straight moulded seat rails, caned seat.  Legs are round, straight, tapered, and with reeded flutes.  Caned seat with hole in frontmost right corner.
Fragment
, 500–800
Z-spun wool, S-spun linen, dye Technique: slit tapestry weave

Woven fragment of dark purple wool and undyed linen. At left, an abstracted  four-point flower; at right, an animal within a roundel. Border at top and bottom. One brown weft carried at a time; two undyed linen wefts carried at a time.
Drawing
Felice Giani, Italian, 1758–1823, About 1801
Pen and brown ink, brown wash, over back chalk, on rolled paper.

Vertical Rectangle octagonal frame. Shown in the slightly altered pose of Isaiah by Michelangelo, the right hand leaning upon a mask.
Panel with four uncut chair arms
, 19th century
silk, wool Technique: plain weave with discontinuous wefts (tapestry)

1898-18-2: One piece that contains four uncut chair arms has ...;     1898-18-3: One piece that contains four uncut chair arms has ...;     1898-18-4: One piece that contains four uncut chair arms has ...;     1898-18-5: One piece that contains four uncut chair arms has ...
Vignette or Label
, 1840s
Wood engraving on paper
Print

Three ovoids in a tablet with decorated field, a border and ornament motifs. At the outside: caducei laterally, anchors on top, cornucopias, bottom. Octagonal bordering line.
Fragment
, 1000–1450
cotton, wool Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Fragment of a funerary mantle in light brown cotton plain cloth ground (doubled warps) with figure of a man brocaded in yellow, red, brown, orange and tan.
Wreath in frame
, 19th century
hair (human), wood, glass, fabric

Hair wreath, in frame
Staircase model
, ca. 1880
Planed and joined wood

Rectilinear staircase model on shaped base.
Sidewall
, ca. 1880
Machine-printed paper

Aesthetic style design with dense all-over pattern of foliage with large peony-like flowers; at least four distinct motifs alternating in rows, two to each row; leaves and flowers marked out in pale blue, cream, and dark green; blue-grey ground printed on paper with textile weave embossing.
Fragments
, 16th century
silk and metal thread Technique: appliqué

Fragments of an appliquéd and embroidered orphrey has symmetrical scrolling leaf and flowers forms of dark yellow on a red ground.
Sarong
, 19th century
cotton Technique: wax resist dyeing (batik) on plain weave

Batik sarong in red, blue, yellow, and cream color. Shows an all-over "banji" motif (swastika variation) with butterflies around a large-scale floral pattern ("buketan" motif), at intervals. Scalloped floral borders (a North Javanese batik innovation) within another border.
Textile
, 1805–10
cotton Technique: block printed on plain weave

Half-drop repeat of pheasant-like birds (one large, one small) perched in a curving, flowering tree on a brown background.
Sketchbook Page: Standing Female Nude
Kenyon Cox, American, 1856–1919, 1877–78
Graphite on paper
Sketchbook folio

Recto: Three-quarter length view of standing female nude with hands together near left shoulder. 
Verso: Caricature of artist with comically large head, seated and drawing at an easel.
Tassel
, 17th century
linen Technique: braided and knotted

Linen tassel, braided and knotted. Long stem, braided and in parts knotted terminating in pear-shaped unit to which are attached two double balls. Bottom of pear-shaped unit and double balls covered with small knotted balls.
Frieze
, 1905–1915
Machine-printed paper, textured

Floral bouquets and foliate scrolls in Rococo style. Printed on embossed paper.
Ceiling paper
Alfred Peats Company, 1900–1915
Machine-printed paper

Diagonal rows of scroll-enframed figures of various shapes. A near geometrical feeling results. Figures are not large. The most elaborate motif has leafy forms in pink and silver.
Earrings
, ca. 1850
Hair, gold

Pair of earrings of hairi-work woven into spherical and cylindrical forms, mounted in gold.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Rows of alternating circular, floral wreaths and individual blossoms, possibly roses, are printed atop a faint pattern trellis pattern created by thin, leafy branches. Design is printed in yellow, green and beige on tan ground.
Border
, 1835–1900
Block-printed and flocked on machine-made paper

Cable molding or ropework. Printed in green flock, overprinted in shades of green. On white ground.
Sauceboat
Clignancourt Porcelain Manufactory, French, active by 1771 - ca. 1791, 1775–1785
hard paste porcelain, vitreous enamel, gold
sauceboat

White ground with multi-colored flowers. Monogram LSX for Louis-Stanislas-Xavier, Comte de Provence (later Louis XVIII), patron of the factory. Background immediately around floral sprays has a mat finish.
Voila ce que c'est que de ne pas se mettre en règle, Plate 8 from "Inconvénient"
Auguste-Xavier Leprince, French, 1799 - 1826, ca. 1825
Lithograph, brush and watercolor on paper
Print

Army officers talking to the travelers, examining papers. The coach upright. Title and artists' names below.
Border
, late 18th century
silk Technique: bobbin lace made in Lille style with heavy outlining thread

Border in a Lille-style pattern with a ground called spanish mesh which was more than likely made in Italy.
Sketch of Two Female Heads for Chinese Figure in "The Marriage of the Atlantic and Pacific," Mural in the Wisconsin State Capitol, Madison, WI
Kenyon Cox, American, 1856–1919, 1915
Graphite on paper
Drawing

Two busts of Chinese women. One, center, turned slightly to the left. The other, lower left, facing slightly to the right. Comments on facial structure and the collar style.
Border
, 1795–1815
Block-printed on paper

Architectural moldings, including dentil, egg and dart and beading. Printed in shades of gray, black and a salmon-color.
Sidewall - sample
Gledhill Wall Paper Co., New York, New York, founded 1900, 1906–07
Machine-printed paper

Bouquet of poppies, multicolored, longstemmed and forming vertical stripes. A three inch fancy stripe with small flowers on each side runs between the floral stripes. Printed in shades of red, beige, yellow, green and taupe.
Remembrance Greeting
, 1838–1840
Engraving, brush and oil paint on paper
Greeting Card

Simulated montage of prints of birds, dogs, famous paintings, etc. In center, a girl holding the leaf of a book inscribed: 'One spare leaf yet remains to claim your kind Remembrance". Mounted in a wreath (mounted on paper).
Lorgnette
, mid-19th century
Gold, glass

Lorgnette engraved, with case, has a catch which releases framed rectangular lenses with slight magnifying power on spring hinge.
Tile
J. & J. G. Low Art Tile Works, 1877 – 1883, late 19th century
Glazed stoneware

Square molded tile made of white clay, impressed and inscription: "J. & J.G. Low, Patent Art Tile Works, Chelsea Mass. U.S.A., copyright 1881 by J. & J.G. Low". Tile face has all-over design of daisies framed in plain circles separated by four-pedaled flower; cropped design indicate piece id part of larger tile scheme; dark brown crackle glaze.
Frieze
York Card & Paper Co., 1891, 1905–1915
Machine-printed paper

Mission style. Alternating large and small stylized red tulips. The large tulips are enveloped in cream laurels. The small tulips are enframed in a polka-dotted structure outlined in a dark brown glossy pigment. Bottom has scrolling vine and band of glossy brown pigment. Top is a band of green with beading and a brown glossy band with widely spaced three-leaf clusters. Lower half of background ornamented with dots and vertical stripes. Ground shades dark to light beige, bottom to top. Printed in selvedge: "York Card & Paper Co"; pattern number "1672".
Vase (Plate 12 of a Series)
Enea Vico, Italian, 1523–1567, 1543
Black ink on paper
Print

Vertical rectangle. An ewer, whose handle is composed of an animal foot joining a grotesque head with twisted neck holding a dish in its mouth. On the body, two figures pay homage to a herm. Inscribed below: "ROMAE AB ANTIQVO REPERTVM MD XXXXIII" and "A.E.V." on a tablet.
Border
, 1665–75
linen Technique: needle lace

Border of Gros Point de Venise or Point Colbert with large scroll-like branch with stylized floral forms.
Masonry of Trinity Cemetery, NYC
Arnold William Brunner, American, 1857–1925, 1879
Graphite on paper.
Drawing

Sketches of stonework at cemetery. Upper left, archeticural ornamental design.
Sidewall
, 1880–1900
Machine-printed on ungrounded paper

Small-scale pattern of chrysanthemums and foliage printed in one flat tone of green-blue.
Sketchbook Page: Hands Holding a Sketchbook
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Study of hands, with the right hand holding the sketchbook and the left hand sketching.  Additional study of hand with sketchbook, below.
Sampler
Ann Mason, American, 1805
silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Bands of alphabets and numerals, in varied sizes and colors, and an inscription:  
Wrote this when I was 12 years old AD 1805  Ann Mason was born in Sept the 23
Figures from Last Judgment
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Figures from The Last Judgment by Michelangelo
Choppy Ocean with Rocks and Mountainous Cliffs
William Trost Richards, American, 1833–1905, 1885–90
Graphite on cream wove paper, bound
Sketchbook folio

Ocean in foreground with dark rocks at center. In distance across horizon, tall mountainous cliffs.
Fragment
Haussmann, mid-19th century
cotton Technique: block printed on plain weave foundation

Part of a polychrome floral pattern on a white ground and factory marks. Bands of red weft have been woven into the cloth.
Carceri Series, Plate XV
Giovanni Battista Piranesi, Italian, 1720–1778, 1745
Etching on white laid paper
Print

Horizontal rectangle. An enormous pier in the center foreground supports four vaults, pierced by a circular window at their junction. Stairways and galleries in the background. Upper center, Calcografia number 363.
caster
, ca. 1820
glass

Globular body, on stemmed circular foot. body decorated with diamond cutting, and prismatic rings. Diamonds on upper portion are smaller and contain holes for pouring. Hole for cork on bottom of foot.
Textile
, 1750–1800
cotton Technique: block printed on plain weave (black, two reds, two purples, two blues, and dark yellow)

Ribbon-like stripes in yellow and red alternate with intersecting s-curves of lace and floral chains.
Vue de l'intérieur de l'église de Notre Dame de Paris, No. 8 (View of the Exterior of the cathedral Notre Dame, Paris, Plate 8) from Vues pittoresques des principaux édifices de Paris
J. A. Campion, French, active 1750 - 1800, 1792
Engraving, brush and watercolor on white paper
Print

Three small groups of people in the empty nave of the cathedral of Notre Dame in Paris. Below, the title, the artists' and publisher's names, and a short commentary.
Experience Arostatique Faite Versailles le 19 Septembre 1783
, ca. 1783
Engraving, brush and watercolor on paper
Print

A large crowd gathered in the courtyard of the Chateau at Versailles watches a flaming balloon overhead. Below, lengthy description in French and German. At top: the title (in reverse).
Frieze
, 1820
Block-printed on handmade paper

a) Frieze: bandings, top to bottom: 1) pink and purple acanthus leaves; 2) pink row of balls; 3) yellow, orange, purple wave and feather/foliage pattern; 4 & 5) narrow geometric pink and purple bandings forming architrave for gold and yellow Ionic and Corinthian capitals with elaborate acanthos. Below architrave: half-round vignettes, three amorini, two with staffs, one with horn riding goat. b) Purple and pink column, fluted, with black bands and leaf decoration. Deep blue acanthus border.
Study for landscape, Hasliberg, Switzerland
William Stanley Haseltine, American, 1835–1900, ca. 1856
Brush and watercolor, gaphite on paper
Drawing

Sketch of a cabin in a forest.
Knife with Agate Handle
, ca. 1660
steel, silver, agate
knife

Leaf-shaped blade has curved upper edge. Octagonal silver ferrule, engraved. Faceted agate handle, tapering towards the point, small projections on one side of handle.
Panel
, 17th century
linen, silk, glass beads Technique: embroidered beaded

Beaded panel with three tabs on top has an elaborate design of two cornucopias, large multicolored blossoms and birds. Some flowerheads have appliqued fabric forming the petals.
The Capitol in Washington, D.C., for the Weekly Times
James Henry Moser, Canadian, 1854–1913, ca. 1895
Pen and black ink, graphite on paper
Drawing

The Capitol Building shown from the front.
Scapular
, 17th century
silk, metallic thread Technique: tapestry weave

Two silk green ribbons attached to square end pieces mounted on brown wool. Each square is woven in gold and green. On one is a sacred monogram, and on the other, a crown.
Design for Berlin Wool Work
, ca. 1860
Brush and gouache on pre-printed squared paper
Drawing

A band of roses and leaves on graph paper.
Fragment
, 16th–17th century
silk Technique: cut and uncut velvet

Fragment of light brown velvet, cut and uncut, on a ground shot with silver thread; flowering branch pattern.
Band
, mid-18th century
linen Technique: needle lace with ground of loop and twist with twist return

Border with striped serpentine band interspersed by floral and foliated forms at intervals.