biglam/cooper-hewitt-alt-text huggingface dataset:
Moldings and Three Triangular Lunettes
Felice Giani, Italian, 1758–1823, late 18th century
Pen and ink over charcoal on heavy paper
Drawing

Framing of field with spherical triangles below; those with bases below decorated with scenes of playing children; others with candelabra. Verso: same motif sketched upon roughly squared ground.
St. Aignan Guerissant Agrippin (St. Aignan Healing Agrippa), plate 110, 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

In an arched space, man reclined on right, while a second man (St. Aignan) stands over him gesturing at him; behind a soldier wearing a helmet.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Partial sketch of a female figure.
Vignette No. 1, from "IIme Suite de Ciels de Lampes et Fleurons"
Pierre-Gabriel Berthault, French, 1737–1831, 1770–1780
Etching on paper
Print

A laurel and a rose bough and some objects. Title, address, bottom.
The Castle yard in Heidelberg
Eugène Edouard Soulès, French, 1811–1876, 1839
Graphite, black crayon on paper
Drawing

The covered well is in the center, a building at right, the great watch tower in the middle distance. Written below at right: "Heidelberg 1839".
Letter to Dr. Dudley Tenney
Frederick Stuart Church, American, 1842–1924, ca. 1895
Pen and brown ink on paper
Ephemera

Upper left, elephant sitting and crying, while a man, right stands on a ladder and extracts tooth. At right, letter written to Dr. Dudley Tenney.
Saint Jerome Beside a Pollard Willow
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1648
Etching and drypoint on laid paper
Print

A tall strump of a tree occupies the center of the composition. Beside it, right, the Saint sits befor an improvized desk, writing. The head of a lion appears behind the tree, left.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Two vases side by side. The vase on the left is shorter, and has a wave scroll band. The base of the vase has fluting, and the vase is elevated on a tiered foot. The vase on the right is of a jug shape, with two snakes as handles. The body of the vase is covered with acanthus leaves and a garland of roses. The bottom of the vase is fluted, and the vase is elevated on a low socle. The plate is numbered.
City Buildings, Italy
Frederic Edwin Church, American, 1826–1900, September 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Architectural and landscape sketch showing a view of city buildings beside a river, likely the Tiber in Rome. In the middle distance at center, a prominent dome--perhaps that of St. Peter's Basilica--rises higher than the rectangular buildings that surround it. In the foreground, the waters of a river wind around a steep bank at right. 

Verso: Textual notations. See "Inscriptions."
Fragment
, 5th century
wool Technique: plain compound weft twill

Fragment with a reversible desgin in tan against brown ground on face and the reverse on the back. Design has octagons, each enclosing a bird.
Border
, 16th–early 17th century
linen Technique: needlework on knotted net

Border for a tablecloth in net darned with a pattern of angular scrolling vine with foliage and blossoms pointing alternately up and down. Two ends have double design placed back to back.
Hermes in the Garden of the Hesperides
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen and ink, brush and watercolors on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. The approaching Hermes at right, the boy emptying the basket with the apples, the group behind the table and the leaning girl in front of it are shown. Indication of the landscape.
Textile
, 19th century
silk Technique: plain compound weave

Design of conventional flower forms in supplementary gold-colored silk wefts on navy blue, ribbed, plain cloth ground. Ribbing formed by bundled black silk wefts covered by the navy blue warps.
Ducks
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Recto: Sketches of a duck.; Detail of neck and hind feathers; Verso: Sketch of a plant in bloom.
Figures
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Crossed out sketch of a seated male figure.; Center, crossed out sketch of a female figure.
Thunderhead above Buildings, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1868–70
Graphite on tan laid paper
Drawing

Atmosphere and architecture sketch showing a view of a towering thunderhead above a mountainous landscape with buildings--likely on or near the artist's property in Hudson, New York. An immense, billowing column of a cloud that widens at its top (a thunderhead) dominates the composition at center, and has several other billowing, vaporous forms at its base. In the foreground at left, the tops of multiple buildings are loosely sketched. In the background, a group of bulging mountains are visible at right. A dark blotch of ink is visible at lower right.

Verso: Architecture and atmosphere sketch showing views of early building plans for Olana and billowing clouds in Hudson, New York. At right, two architectural plans are stacked atop each other: above, an imagined elevation of Olana shows it with a tower and a pointed roof; below, a floor plan that roughly resembles an equal-armed or square cross is visible around other rectangular forms. At left and oriented to the left is a view an immense, billowing cloud bank below a dark sky. Finally, at upper left, an early imagined view of Olana is included. It is notably missing its primary belltower.
Sidewall
, 1835–50
Block-printed, stamped foil, applied chromolithograph

Vertical rectangle. In center, neo-baroque frame printed in green and violet, over-stamped in gold; repeating on field, scattered floral ornaments in green and gold, suggestive of Persian vase with flowers. Frame enclosed applied oval medallion with lithographed representation, in colors, of an interior with family gathering of men, women and children, in the costume of about 1770. Printed on blue moire ground.
Two Designs for Hand Fans
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

Two designs for hand fans or hand screens printed on the same plate, side-by-side. The fans or screens are pear-shaped and feature rococo and chinoiserie (in the Chinese style) motifs along the edges with the center left blank. The design on the left includes a woman seated below a canopy with trees, fruit, c-scrolls, shells, leaves, s-scrolls, acanthus leaves, and flowers. The design on the right includes a standing man, steps, a vase and urn on plinths, sprigs, scrolling leaves, and canopies. The plate is lettered, numbered, and signed.
Panel Design
Bellay, French, active from 1734, ca.1734-49
Etching and engraving: counterproof on laid paper
Print

A counterproof of a print from this series, plate 4 (1921-6-490-14). A design for an ornamental panel featuring rococo and chinoiserie motifs with an ornately decorated frame of leaves, c-scrolls, feathers, platforms, vases of flowers and leaves. In the center there are two figures within a fantastical landscape, one riding a dragon or bird creature stemming from a plinth below.
Mountainous Landscape with a Figure, Mexico
Frederic Edwin Church, American, 1826–1900, April 30, 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch showing the mountainous terrain of Mexico with a figure in the foreground who sits cross-legged as they hold something in their lap. Flat terrain extends through the middle distance and into the background where a shaded range of foothills is backdropped by an extensive and rugged range of tall, sharp mountains. A group of trees is visible in the middle distance at far right. Puffy clouds are loosely rendered above.

Verso: Landscape sketch showing the mountainous terrain of Mexico across a wide valley or plain. Flat, partially shaded topography comprises the foreground and middle distance, while a rugged mountain range with sharp peaks is visible in the background. In the sky, a few puffy clouds are illuminated by the setting sun, which radiates sunbeams in all directions just above the ridge.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with four plates of cartouche designs. The plate in the upper left also serves as the title page of the series, with the text inscribed in the center of the cartouche comprised of two winged figures. All plates are numbered; all plates except for the upper left plate are signed.
A Map of England and Wales
H. Havens, late 18th century
silk and linen embroidery on linen foundation Technique: embroidered in satin, stem and split stitches on plain weave Label: silk embroidered with silk in satin, stem and split stitches
Map sampler

Oval map sampler of England and Wales, with the counties outlined and identified. With a portrait of Britannia in the upper right, and a flowering vine border.
Cartouche Design
Borch, active mid 18th century, 1729–68
Etching and engraving on paper
Print

Design for a cartouche on top of a rocky landscape framed by shells, palm trees, foliate branches, scrolling leaves, water, and a house or dwelling in the background. The plate is signed.
Doorway or Triumphal Arch Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a Classical triumphal arch decorated with ‘frostwork' rustication, (made to look like water or ice), with a brick background. The keystone features a shell with a mask (mascaron) and leaves. Two-headed sculpted profiles in the upper section of the arch façade. The arch is topped with a snake-handled vase, snakes, and shell decoration, two water spurting vases, and seated male and female figures, with vases of pouring water. The plate is numbered.
Pillars of the Temple of Jupiter, Baalbek, Syria
Frederic Edwin Church, American, 1826–1900, May 7-13, 1868
Oil and graphite on paperboard
Drawing

Architecture and landscape study of the ruins of the Temple of Jupiter in Baalbek, Syria. Viewed obliquely at center, a colonnade of six Corinthian columns supporting an elaborate entablature remains as one of the only standing features of the ancient Roman Temple of Jupiter. The colonnade is supported by a wall of roughly-hewn rectangular stones. In the foreground and background, fallen stones and partial walls inhabit an otherwise green, though desolate landscape. A distant mountain range is faintly suggested along the horizon at left.
Chronos
Giovanni Bernardi, Italian, 1494 - 1553, 1550–1600
Brush and bistre on paper, mounted on paper with red crayon drawing
Drawing

Lying with erected upper part of the body, with the right arm leaning upon an elevation. The legs are at right, the head turned toward the right shoulder. Thee left arm is pointing. Scythe and hour-glass are at right. Framed by a stripe. Slightly altered copy of the crystal cut by Bernardi.
Project for scrollwork escutcheons
, 1640-1670
Pen, ink, brush, bistre.
Drawing

Left row, top: asymmetrical escutcheons with the figure of a huntress. Center: a left and a right half of a scrollwork framing are joined in one design. Bottom: two united halves as in the center. A mark is in the bottom center; a cornucopia is held by a scroll in the left half. 
Right row, top left: an asymmetrical escutcheon with marks in the center on top and at the bottom. Center: a right half is shown with a cherub in the bottom center. Bottom: a right half is shown.
Project for a Lamp
Giuseppe Barberi, Italian, 1746–1809, ca.1780
Pen and ink, brush and wash on paper
Drawing

Design for a pillar on a square base decorated with bucranium and swags. Flame form at top.
Mars and Juno; Mercury and Diana set in Diagonal Composition
Felice Giani, Italian, 1758–1823, 1815
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Pair shown seated, goddesses in foreground, gods in middle planes.
At the Mississippi in St. Louis.
Howard Russell Butler, American, 1856 - 1934, 1887
Black, white crayons. Grey paper.
Drawing

Horizontal rectangle. Vista toward a huge warehouse in the back center. A steamer lies at its moorings in the right middle plane. Signed in the lower right corner: St. Louis 1887 / HRB.
Textile
, ca. 1780
silk on silk Technique: embroidered in chain stitch on plain weave

Fragment of finely-ribbed white silk embroidered in multicolored silks in a design of a flowering vine tied with a bowknot of blue ribbon.
Textile
, 1870–80
cotton Technique: printed on plain weave

Black ground with a regular grid formed by intersecting light brown lines. Each square is filled with tiny red and white four petal flowers.
Recto: Coronation of the Virgin
Belisario Corenzio, Italian, active 1590–1646, ca. 1630
Pen and brown ink, brush and blue watercolor, white gouache on cream laid paper tipped into paper frame; verso: brush and gray, white gouache, graphite
Drawing

Recto: The Virgin stands on a cloud in the center of the composition, holding a crown. She is surrounded on either side by visitors bearing gifts. In the background God the Father sits overlooking the scene. On the left a youth stands in veneration on top of a large monster head. Verso: young man's head facing right.
Project for the Interior of the Sacristy of St. Giovanni de’ Florentini in Rome
Giuseppe Palazzi, Italian, 1740 - 1810, late 18th century
Pen and ink, brush and watercolor on paper
Drawing

Section. A variation of 1901-39-1593  in heavier and more austere form, darker colors and no pictures. The scale is colored red, white and blue.
A Chapel; Elevation and Floor Plan
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and chinese black wash with watercolor over red chalk and traces of graphite on wove paper
Drawing

Architectural details. Top: section of apse; entablature of altar.
Fragment
, late 18th century
linen Technique: needle lace

Alençon-style fragment with minute powdered floral design. Hexagonal mesh reinforced with buttonhole stitches (brides tortillées).
Porte de Cour ou de Jardin
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for an iron gate, with the elements of its construction labeled in a key in the upper left. The plate is signed and numbered.
Sketch in "Hard Rain on Mt. Crawford"
Daniel Huntington, American, 1816–1906, September 17, 1856
Graphite on grey paper
Drawing

Outlines of mountain ridges. Foreground, ridge, left, with plant stems to right.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Two frieze designs with putti, scrolling leaves (rinceaux), female and male figures, sealions, chariot, water, dolphins, reads, tritons, and festoons of leaves. The plate is signed and numbered.
Alcove circulaire
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for an alcove set again a wall and within which is placed a cushioned bench. The space is decorated with ornament motifs including colums, rosettes, branches, carved floral bouquets, and crescent moons. The plate is signed and numbered.
Design for a Fireplace with Surrounding Ornamentation
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching and engraving on off white laid paper
Print

Design for a fireplace with an overmantel mirror, and large paintings depicting rustic landscapes on either sides. The fireplace, frames, and walls are heavily ornamented with carved/molded scrolls, rinceaux, cartouches, and garlands. The plate is signed and numbered.
Figural Group Depicting the Triumph of Bacchus
Royal Porcelain Factory, Naples, Italian, ca. 1771 – 1807, late 18th–early 19th century
porcelain
figure

Figural group showing the Triumph of Bacchus.
Salesman's sample
, early 19th century
silk Technique: embroidered

Sample of dress trimming of white silk embossed and cut out in leaf and flower shapes and pasted on thin white plain cloth to form wide and narrow border. Mounted in paper folder.
The Bay, New York
Joseph Pennell, American, active England, 1857–1926, 1922
Aquatint in black ink on paper
Print

View of the water, with moonlight breaking through the clouds. The lights of New York seen in the distance.
Band fragments
, 10th–12th century
linen, silk Technique: plain weave and tapestry weave

Bands of confronted birds in an arrangement of triangles.
Nine Landscapes (Study of Forms in Space)
Leon Dabo, American, 1868–1960, 1890
Blue crayon on paper
Drawing

Nine landscapes showing rolling hills, a few trees, and the setting sun.
Handkerchief
, ca. 1862
cotton Technique: embroidered

Square handkerchief of sheer white cotton with border design of scallops and eyelets embroidered in white cotton.
The Martyrdom of St. Catherine
Albrecht Dürer, German, 1471–1528, 1498–99
Woodcut on cream laid paper
Print

Scene depicting the martyrdom of St. Catherine in which St. Catherine, foreground, kneels before a flaming spiked wheel, while a man behind her holds a sword. Above, the sun rains fire as people flee. In background, a landscape.
Integer vitae scelerisque purus (Horace, Odes. Book I,22)
Giovanni David, Italian, 1743 - 1790, 1775
etching on wove paper
Print

Studying among remnants of Antiquity a man has been overcome by sleep.
Vase
, 19th century
glass

Bottle green glass, long neck with triangular body. octogon shape in plan.
Design for Stained Glass for Doorway in Miss Caldwell's House, Newport, R.I.
John La Farge, American, 1835–1910, 1870–80
Graphite and watercolor on paper
Drawing

Unfinished project for a doorway, showing lintel and plaster strip.
Fringe
, 18th century
silk Technique: plain weave

Blue fringe with a trellis band and tied skirt threads that form tassels.
Textile
, 6th–7th century
wool Technique: tapestry weave and soumak

Wide band showing lions in octangonal medallions with border of latticework. Maroon design on a tan ground.
Hercules with the Pillars of Hercules
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. Hercules is at left, carrying two columns: One over his right shoulder; the other under his left arm
Seated Woman, Young Soldier, and Magus, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Only state
Textile
, 1750–1800
silk Technique: stem and long-short satin stitch embroidery on brocade-patterened plain weave

Length of white silk, brocade-patterned, embroidered in colored silks in a large scale serpentine floral design.
Fragment
, 14th–15th century
cotton Technique: resist-printed on plain weave

White, rather coarse, plain weave ground.  All-over closely-spaced design of stylized lotus blossom and foliate motifs.  Blue resist-print.
Textile
, 1760–85
cotton, linen lining, silk tassels Technique: block printed on plain weave

Black grazed percale printed in poylchrome design of detached floral sprays in rows. Four different bouquets in repeat. One width (two selvages present) hemmed and lined at bottom, gathered on to drawstring with silk tassels at top showing that this is half of a petticoat.
Fragment
, 17th century
silk Technique: satin weave with continuous and discontinuous supplementary weft patterning (brocaded)

White satin ground with design of floral sprays repeated in horizontal rows. Green and white continuous supplementary wefts form part of the design, with yellow and rose brocading.
Handkerchief
, late 18th–early 19th century
cotton Technique: printed by engraved plate on plain weave

Woven cotton handkerchief printed with border of "good" and "naughty" boys and girls. At center, the English alphabet shown in Roman, italics and Old English fonts.
Border
, 17th century
linen Technique: needle lace

Venetian point in low relief with various needlemade stitches and picots. Design of scrolling stem with leaves and flowers.
Fragment
, late 17th–early 18th century
silk, metal wrapped around silk core Technique: compound twill weave with discontinuous supplementary weft patterning (brocaded)

Fragment composed of two pieces of silk in the ‘Bizarre' style. Design shows a column form alternating with a flower vase with swag, and large florals in pink, blue and yellow. Pink flowers and a spiral column. Rich use of gold and silver with limited brocaded silk colors. Red-orange foundation fabric limited to linear details or small areas of background. Silver and gold tarnished.
Band fragment
, 12th–13th century
linen, silk Technique: tapestry weave

Small fragmentary tapestry band with red guard borders filled with oval forms of yellow and blue. Between borders are red, yellow and blue medallions that contain a small stylized running animal.
La Caravane du Caire
, 1785–90
cotton Technique: printed
Textile

Toile fragment depicting scenes from Grétry's popular opera "La Caravane du Caire" (1783) including the central slave market scene in which an Egyptian pasha chooses between an Arab and European women as potential slaves. Other vignettes include a mosque and crescent-topped obelisk, and a man leading camels.
Design for a Six-Legged Rectangular Table on Casters
A.N. Davenport Co., 1900–05
Graphite, yellow color pencil on thin cream paper
Drawing

Rectangular molded top raised on 6 [5 shown] plain tapering legs terminating in brass sabots; casters suggested in yellow
Sideboard with Four Legs and Tri-Partite Front
A.N. Davenport Co., 1900–05
Black and white photograph on white paper
Photograph

Oblong sideboard with 4 cabriole legs with animal paw feet, serpentine tri-partite front, and 2 drawers in recessed center section, flanked by 2 doors and topped by 3 conforming drawers.
St. Martin healing the lame and blind beggars against their wishes
, 15th century
linen foundation with silk, metal-wrapped silk Technique: two layers of plain weave embroidered with split and stem stitches using silk and couched metal-wrapped silk
Roundel

Five small roundels embroidered in colored silks and gold. Three illustrate scenes from the legend of St. Catherine of Alexandria; two others scenes from the life of St. Martin.
Album of Prints: Miscellaneous Ornament Designs by Pierre Edme Babel
Pierre Edme Babel, French, 1720–1775, 
Album

Album of prints containing miscellaneous ornament prints by Pierre Edme Babel.
Button
, 19th century
Steel

1931-59-257-a: Flat button with un-bevelled edge and central, fac...
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Design in square in yellow with stone-like shapes surrounding a central burgundy ribbon motif with green circle.
Allegorical Figure of "America"
Royal Porcelain Manufactory, Berlin, German, established 1763, ca. 1770
hard paste porcelain, vitreous enamel, gold
figure

1960-1-44-d: " America" standing male figure, wearing feather b...;     1960-1-44-e: a) "Asia" standing female figure, wearing turban a...;     1960-1-44-f: a) "Asia" standing female figure, wearing turban a...
Sidewall
Wm. Campbell Wall Paper Company, 1872, 1905–1915
Machine-printed paper, liquid mica

Open medallion framework composed of acanthus scrolls, each containing a floral bouquet. Printed in green, white, light yellow, brown, and metallic gold on tan ground.
Study for portrait, Vicente Blasco Ibañez
Harriet Blackstone, American, 1864–1939, December 14, 1919
Graphite on paper
Drawing

Sketch of male figure.
Knife
, 1660–80
steel, enamel

Leaf-shaped blade, bolster engraved. Tapered enamel handle inlaid on light blue ground: multi-colored floral pattern in relief; green, white, yellow, red.
Standing male figure in bishop's vestments
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Standing male figure in bishop's vestments. He holds up an object in his left hand and clutches his cloak with his right.
Sidewall
, 1750–1800
Block-printed on handmade paper

On gray ground, fill of black dots, small scale pattern of meandering vine, foliage and flowers over-printed in white. Fragments of grey paint along edges on reverse.