biglam/cooper-hewitt-alt-text huggingface dataset:
Two Ornamental Frame or Cartouche Designs
, 18th century
Etching on laid paper
Print

Designs for two rocaille frames decorated with ornament motifs including scrolls, rinceaux, and garlands.
Canapé à l'Italienne [et] Duchesse à la Romaine
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-seater couch with arms, and a single chair without arms. The furniture frames are decorated with acanthus leaves, fluting, rosettes, and scrolls; the fabric is striped. The plate is signed.
Ewer
, 17th–18th century
dark blue glass with opaque enamel colors

Blue glass with painted red and yellow decorations; Vessel with long cylindrical neck ,with horizontal rib, prounounced wide lip at top. Stout globlular  body; One handle of applied glass and long upturned spout.
Ornamented Fence Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Tall gate and three shorter irons fence designs. The plate is signed and numbered.
Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, ca. 1870
Brush and bistre wash on tan paper
Drawing

A stream in the center foreground bounded by low bushes, left, and a tree, right. Beyond the foliage the ruins of a castle loom in the background.
Roman Sarcophagus
Frederic Edwin Church, American, 1826–1900, October 1868 - April 1869
Graphite on tan wove paper; verso: graphite
Drawing

Sketch showing an oblique view of a rectangular Roman sarcophagus in Rome or Pompeii, Italy. Supported by an elaborate base, the sarcophagus features on its side a carving of a winged creature, and of kneeling figures in the corners of its lid. The long side of the sarcophagus is blank.

Verso: Architecture and landscape sketch showing a frontal view of a rectangular Roman sarcophagus in the immediate foreground at left, and a church with a tower beside a tree in the distance at right. The sarcophagus features several indistinct carvings on its face, with those of kneeling angels in the corners of its lid.
Portrait of a Cardinal
, 1620-1640
Engraving on paper
Print

A bust-length portrait of a middle-aged cardinal in three-quarter view to right. In an oval frame held by two small angels. Part of an entablature decoration composed of stele crest, eff-and-dart and wreath motifs on mouldings.
Floral Design
, 1740–1770
Black, white, and taupe crayon, brush and wash on bluish-grey paper
Drawing

A bunch of boughs with blossoms, buds of various kinds, and leaves.
Sampler
, 19th century
silk embroidery, linen foundation Technique: tent stitch on plain weave

Detached motifs: Holy monogram. Crucifixion, birds, hearts, flowers with Greek fret.
Cliffs, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, August 1851
Graphite on tan wove paper
drawing

Landscape sketch showing of immense rocky cliffs along the coast of Grand Manan Island, possibly near Southwest Head or Dark Harbour. Immense boulders and rock formations are strewn around the immediate foreground, including a conical spire at lower center. Precipitous, nearly vertical cliffs rise abruptly just beyond these rocks, and are made up of geometric pillars of basalt. One particularly dramatic formation at center hosts a pair of trees atop its narrow peak. The sheer cliffs extend into the background, with their flat, wooded ridges shown on top.
Button
, 19th century
Silver plated on brass

1931-59-183-a,b: Flat button with ornament showing a double shield ...
Ornament Design with Hercules
Paul Androuet Du Cerceau, French, 1623/30 – 1710, 1669–93
Etching on laid paper
Print

Fifth plate from a series of six ornament plates featuring mythological scenes. An oval medallion in the center depicts Hercules slaying Hydra. The medallion is framed by a leaf frieze surmounted by a mascaron with leaves as hair and a beard. The medallion is surrounded by foliate scroll arabesques, featuring acanthus leaves, flowers, branches with leaves and berries. The plate is signed and numbered.
Designs for Mechanical Furniture: Wardrobe, Desk and Dressing Table
, ca. 1805
Graphite, pen and black ink, brush and watercolor on paper
Drawing

Above, wardrobe; center, desk; lower, combination writing and dressing table; top, two plans, section and elevation; center, section and elevation; two plans, section and elevation. Below, scale.
Frieze
, ca. 1860
Block-printed on continuous paper

Guilloche; green on pale green field.
Fragment
, 3rd–4th century
Warp; S-spun, Z-twist linen. Wefts; S-spun linen. S-spun wool Technique; slit tapestry with supplementary wrapping and supplementary weft loops

Red-purple leaf with stem in a field of looped pile.
Great Head from Sand Beach, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, probably 1850
Oil and graphite on tan wove paper
Drawing

Landscape sketch showing a view of Great Head from Sand Beach on Mount Desert Island in Maine. In the immediate foreground, nearby rocks are rendered only in graphite, revealing the brick-colored grounding, while waves crash on the sandy beach just beyond them. The dark greenish-blue waters of Newport Cove extend over the middle distance until they encounter the sheer, rocky cliffs on the western side of Great Head that rise abruptly at left and center. The cape's wooded hills rise over these red-toned cliff, which taper down to a rocky point at center right. An open and warmly-hued sky reigns above.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, before 1666
Etching on laid paper
Print

Two frieze designs with putti, festoons, griffins, sphynx, satyr, scrolling leaves (rinceaux), mascaron (mask), shells, and leaves. The plate is numbered and lettered with the publisher's address below.
An Elderly Woman
, 1810–1830
Graphite, charcoal, red crayon, white heightening on paper
Drawing

Vertical rectangle with portrait of a woman wearing a cap shown frontally with the beginning of the bust.
Design for the Border of a Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Brush and white gouche on oily tracing paper
Drawing

Trophies, of which two are shown, form a horizontal row. They consist of a lute, two winds, an open music book, and flower boughs. Bottom: a row of canopies which are connected by crowns. The vertical motif is shown horizontally.
Fragments
, 1700–1750
silk Technique: uncut supplementary warp pile (velvet)

Fragment of uncut velvet on silk ground. Originally tomato-red, now faded almost brown on face of fabric. Design in center of scrolling foliage and blossoms with ground in small zigzags, all uncut pile.
Design for Setting Consecration of Antique Temple
Baldassare Cavallotti, Italian, d. 1843, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Crowd of figures in antique temple hall at twilight, light from hanging braziers in temple at right.
Design for the Lower Front Part of an Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

Bunches of flowers are connected by a cord, a fringed bead chain, a garland with a peacock feather garland drunning inside along the hem. Ovoidal medallions connected by flower boughs are outside. Written in ink: "p 1610," top right, "po 1610 S. R." and by another hand: "Prior[it]é Cadet Leubros," bottom left.
Study of a Woman's Head for "Sacred Lesson"
Daniel Huntington, American, 1816–1906, 1843
Graphite on grey wove paper
Drawing

Woman's head and shoulders, in right profile. Hair in a bun, wrapped in a braid, at the nape of her neck.
Project for a Holy Water Font
, late 18th century
Graphite, pen and ink, brush and watercolor on paper
Drawing

Bowl decorated with a frieze in which heads support drapery festoons. Below is a volute connected with the frieze by festoons. Above is a pediment with the dove of the Holy Spirit in clouds and with a glory of rays.
Mount
, ca. 1825
bronze

Mount in the form of a basket of fruit. Made of black-patinated bronze.
Fireplace (Chimney Piece and Mantel) Design
Nicolas Guérard, French, ca.1648 – 1719, 1715–19
Etching and engraving on laid paper
Print

An interior wall elevation with a fireplace (chimney piece and mantel) design in the center, flanked by plain paneling with molding. The mantel is curvilinear with scrolling acanthus leaves and fleurons motifs with a central oval cartouche. The overmantel mirror frame is decorated with leaves, sprigs with leaves, scrolling leaves (rinceaux), and fleurons, with terminal herm figures in the upper corners supporting the arched panel above. The panel above the overmantel mirror features a central cartouche with a fish scale pattern, scrolling leaves (rinceaux), fleurons, a running ribbon pattern for the molding, festoons of flowers, and c-scrolls. The cornice is decorated with corbels and trophies. There is a plan view of the mantel shape and a scale below. The plate is numbered.
Plats de terrine et de Pots à Oilles
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Split design of a platter. The left side is decorated with ornament motifs including rinceaux, a cartouche, fluting, and a wreath; the right side features dolphins, rinceaux, scalloping, and a cartouche with spears. The plate is signed and numbered.
Frieze
, 1890–1900
Machine-printed and embossed

A continuous spray of large floral motifs runs through the center, on either side is a band of a leaf motif edged with a beaded border. The field is in three shades of gold. All of the gold background is embossed with a pebble effect. "3117" is printed on the margin. Printed in shades of brown and tan on gold field.
Sideboard for Silver
Domenico Bolognese, Italian, active 17th century, late 17th century
Pen and gray-brown ink, brush and gray-brown wash on white laid paper
Drawing

Vertical format drawing showing a furniture design for a large ten-tiered buffet for silver with various pieces in place.
Altar Lamp
Luigi Righetti, Italian, 1780 - 1819, ca. 1825
Pen and gray ink, brush and watercolor, graphite on white laid paper
Drawing

Vertical rectangle. Design for an altar lamp hung from three chains, starting from calyces upon the heads of birds. Two waved garlands of leaves are intertwined at the body. The birds stand between the garlands, and a mask is at the front. Three flames burn at lamp's opening.
Plan et Coupe de la Bibliothéque d'Ordre Corinthien
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plan and cross section of the bookshelf depicted in 1921-6-331-81. The sheet also includes a detail for a decorative design for the side panel, featuring a trophy with attributes of music and theater. The plate is signed and numbered.
Design for an Andiron
Jean François Forty, active 1775 – 1790, ca. 1780
Etching and engraving on laid paper
Print

The first plate from a series of six designs for andirons. The andiron features military trophies, a suit of armor, a roundel portrait, classical friezes, a battle scene, fluted pilasters, and laurel leaf garlands. The series is titled lower center, and the plate is numbered, lettered, signed, and addressed.
Pallas Athena (Minerva)
Lucas van Leyden, Netherlandish, ca. 1494–1533, ca. 1530
Engraving on laid paper
Print

The goddess is seen in full-length, seated, facing the spectator, her head turned sharply to the right. She holds her shield in her left hand; her lance in her right hand.
Design for Fountain with Tritone
Felice Giani, Italian, 1758–1823, 1815
Black chalk and graphite on cream laid paper
Drawing

Fountain with curved front.  Triton and Nereids shown beside a central mask with large eyes and mouth of which water pours into lower basin.
Designs for Nine Bands for Bases
, ca. 1800
Pen and brown ink, brush and watercolor, traces of graphite on off-white laid paper; verso: pen and brown ink, graphite
Drawing

Nine designs for bands for covering the points of bases intended to be executed in metal and, except for 2 and 7, with stones. Top row, left: "1"; a bead moulding is among the upper ones. The frieze shows a spherical quadrangle between circles with rosettes. Center: "2"; an enriched bead moulding, similar to "1"; an acanthus rosette is applied in the frieze. At right: horizontal lines of an unfinished design. Second row: "3"; a laurel moulding, similar to "1"; the frieze shows masks in horizontal ovoids between projecting panels with vases in the frieze. A twisted rope moulding is among the lower ones. "4"; an ovolo moulding, similar laurel festoons are suspended from nails. Circles are shown in the wedges, one with a rosette, the other with a child's head. Third row: "5"; an interlacement band and a moulding with leaves, respectively, similar to "3"; the frieze shows two interlaced undulated bands, framing beads and a rosette. "6"; a laurel moulding and a bead, similar to "3"; a festoon is supported by a bukranion and a mask; a rosette in a circle is in the wedge. "7"; with flutes and a bead moulding. Bottom row: "8"; interlaced and undulated bands, similar to "1"; a spherical octagon with a rosette is flanked by circles, the left one of which shows a rosette, in the frieze. "9"; a leaf at left of the designs. Figure numbers are inscribed with pen and ink at left of the designs. Verso: pen and ink inscription of price list. Part of the last line is written over a graphite sketch of an Atlas gaine, in opposite direction. It is flanked at right by a crouching centaur. His left hind leg touches the corresponding leg of a symmetrically disposed other centaur, who is not entirely shown. The dome of a pavilion is shown in the middle over the centaur group.
Plan and Elevation of a Doorway
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates aligned vertically. The top plate features a plan and elevation of a doorway set within a heavily fortified wall. At the top, above the door, is a carved trophy with a hog's head and a torch. The lower plate features a design for a stairway, leading up to iron railways of scrolling acanthus leaves. The plates are signed and numbered.
A Bouquet of Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Bound print

Eighth plate from a series of designs for bouquets of flowers. In the center a bouquet of flowers, large roses, or peonies, with smaller ones, on their stems with leaves and buds. The plate is signed.
Two Censers
Giuseppe Barberi, Italian, 1746–1809, ca. 1800
Pen and brown ink, brush and brown wash, gray ink on off-white laid paper
Drawing

Two censers decorated with double-headed eagles. At top of left censer, a fountain form.
Virgin Seated On the Clouds
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1510
Engraving on paper
Print

In mid-distance, the Virgin seated upon a cloud with the child standing at right. Four small angels around the Virgin upon the cloud.
Design for a Painted Frieze
, ca. 1790
Graphite, brush and gray watercolor, Chiese black on paper
Drawing

An ovoidal medallion with cupid riding a dolphin is flanked by rinceaux. Verso: an ovoidal frieze is bordered by bands with laural garlands on top and bottom edge. The landscape consists of trees, plants, a house, a bridge, a gate, a poplar alley. Some men are shown, three of them near monumental Hermae. Bottom left: a part of a leaf border.
Harbor
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Partial sketch of male figures working on a dinghy boat.
Dye record card
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, 1909–10
linen yarns, naturally dyed, mounted to paper card

Samples of yarns dyed by members of the Society, affixed to the backs of admission tickets to the  Annual Exhibition of 1908. Recipes for some colors are written below.
Tatters
Arnold Print Works, North Adams, MA, USA, 1892
cotton Technique: roller-printed on plain weave
Textile

Printed panel, entitled "Tatters" with front, back and bottom views of a small dog wearing a bow, meant to be cut and sewn into a stuffed toy. Sewing instructions are printed in the center. "Arnold Print Works, North Adams, MA" is printed in the upper right corner.
Napkin
, 1680s
linen Technique: 4&1 satin damask

White damask napkin has a field with a large-scale, vertically symmetrical pattern with peony-like flower and scrolling leaves. Top and bottom borders have a grapevine with two stags. Side borders have a grapevine with a stag and a lamb.
Pleated fan
Angelica Kauffmann, Swiss, 1741–1807, 1795–1805
Painted parchment leaf, painted and gilded ivory sticks carved à jour, glass stone

Pleated fan with painted parchment leaf. Obverse: two side rectangular panels; one with a landscape and cows; the other, a landscape with fisherman. The central medallion depicting a woman as the allegory of color. The background in the French Directoire style with pastel colors. Reverse: minute floral decoration along borders. Ivory sticks: carved à jour, gilded and painted. Glass stone at the rivet.
Sampler
Abigail Mears, American, born 1758, 1772
silk embroidery on linen foundation Technique: embroidered in counted and uncounted stitches: cross, satin, surface satin, stem and eyelet stitches on plain weave foundation

In the upper  half, bands of alphabets separated by narrow floral cross borders, a verse and inscription:
From my beginning may the almighty powers
Blessings bestow in never ceasing showers 
Oh may I happy be and dissipate all worldly cares 
And smiling peace bless my revolving years

Abigail Mears Her Sampler 1772

In the lower half, a scene of dogs chasing a stag. With a floral vine border on four sides.
Fragment
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1800
cotton Technique: printed by engraved roller on plain weave foundation

Small cartouches (circle, horizontal rectangle, and diamond) on an elaborate foliate background. In red on white.
Le Buveur
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1770s
linen warp, cotton weft Technique: block printed on plain weave
Fragment

Fragment shows a boy with a bottle in one hand and a glass in the other. He is enclosed in a cartouche made of flowering garlands and surrounded by plants and scrolls. In blue on white with a picotage ground.
Le Goût
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with a vignette of a man holding a wine goblet and pitcher, with a grape wine wrapped around him, standing in a landscape. He is surrounded by scrolls and branches. The plate is signed; the title is inscribed in graphite, but can be found printed in other versions of the plate.
Cuff
, 19th century
silk, linen, metal Technique: satin embroidery stitch

Cuff from garment of priest in Greek Orthodox Church. Red satin on linen ground, embroidered in silver. Figure of a woman, Mary, in the center surrounded by floral motifs. Fitted with rings at side and cord for lacing. Inscription.
Costume Design: Valor for a Ballet
, ca. 1720
Lead pencil on paper
Drawing

Vertical rectangle. A man in classical armor is shown from the front, standing. He carries in his right had a mace, the head of which is flanked by two laurel branches. Caption: "Valore."
Fragment
, late 18th–early 19th century
silk Technique: painted on taffeta

Oblong panel of taffeta painted in polychrome with design of rocks, mountains, buildings. Part of a larger panel.
Pavilion with Bell Tower
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Elevation of one-story pavilion with an arched entrance flanked by wall sections with doric pilasters and arched niches containing draped statues, decorated beneath with swags. A simple entablature supports a pediment with a large clock; ball ornaments are at outer corners. Above clock is an aedicula-shaped structure with a garlanded Papal escutcheon with keys and tiara. At top, metal scrolls support an orb and a cross above three bells. Below,
Textile
, late 19th century
silk

Narrow silk length in yellow, red, green, white and blue vertical stripes set off by smaller stripes in black and dark blue.
Friezes, Panels and Ornam
Gottfried Engelmann, 1788 – 1839, 1827
Lithograph Support: white wove paper
Print

Five friezes and at upper left a frieze motif. Rough right, bottom edges; creased; stained (RB '45) Previously titled: ''Plate 4 of a set of projects for ornaments. Devised by M[ichel?] Pourchet (1805-)''
Fragment
, 1850–1900
cotton Technique: printed on plain weave

Corner fragment with a dark red ground has a paisley pattern in orange, light blue, white, black, and red.
Border
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Loosely woven scroll pattern. Flemish ground.
Fragment
, 1100–1400
cotton Technique: dyed and painted

Painted fragment in two shades of brown, black, blue, and orange. Selvage at one side.
Pillow cover
, ca. 1700
silk on cotton Technique: chain, back, knot and stem stitch embroidery on plain weave; quilted

Horizontal panel filled with fantastic flower heads, leaves, spreading branches of a small flowering tree, narrow border on four sides with running floral scroll. In polychrome silk chain stitch on undyed cotton ground with fine quilting in beige silk outline stitch on diamond framework. Details in knot, buttonhole, outline sittch.
Bamboo
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

A single piece of bamboo or (take) is curved diagonally with sprigs of leaves naturally dispersed around the shoot. Silk threads have been added to support the overall structure.
Fragment
, 1780–1790
cotton Technique: printed by engraved copper plate on plain weave

Pastoral scene in sepia on white ground. Upper left corner, a couple fishes; upper right, a field with gleaners; the central scene, children and adults picking fruit.
Fragments
, 18th century
silk, cotton, metallic yarns Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Woven textile fragments in symmetrical large-scale design of central palmette flanked by columns encircled by acanthus leaves, flowers, foliage, and bunches of grapes brocaded in multicolored silks and silver metallic thread.
Border
, late 19th century
linen Technique: bobbin lace (late Valenciennes ground)

Ground of diamond mesh with horizontally placed sprays and scalloped edge.
Fragment
, late 16th–early 17th century
silk Technique: 4&1 satin

Red and yellow damask with heraldic animals in small cartouches.
Fragment
, 14th–15th century
silk Technique: supplementary warp loops in plainweave foundation (velvet).

Confronted geese (?) in diamond framework with knots forming the corners all in black.
Cover of Manhattan Illustrated Magazine, April 1884, with Corrections
Francis Augustus Lathrop, American, 1849–1909, ca. 1884
Photograph with graphite corrections on brown board
Drawing

Photograph of cover for the Manhattan Illustrated Magazine, New York, April 1884, by Evans after Lathrop. Placement of the word "Illustrated" corrected in graphite. Verso: upper half, in graphite, section of band with two acanthus scrolls.
Pleated fan
, late 18th–early 19th century
Painted paper leaf, ivory sticks carved à jour

Pleated fan. Paper leaf painted in the style of Angelica Kauffman (Swiss, 1741-1807). Obverse: scenes of cupid tied to tree with women with bows, arrows and flowers. Reverse: plain. Ivory sticks carved à jour with a central cartouche in relief of a reclining woman.
Scrapbook of embroidered net samples
, 1800
paper, linen Technique: embroidered net

Small sample book with twenty-one dark blue pages filled with small swatches of various patterns of embroidered net.
Fringe
, 17th century
silk Technique: woven

Yellow fringe with a plain-woven heading and a skirt of very fine yellow threads.
Cartoon for Harper Window with Alternate Border Design, Larchmont Yacht Club, Larchmont, NY
Alice Cordelia Morse, American, 1863–1961, 1896–97
Graphite, brush and watercolor on pierced tracing paper
Drawing

Design in horizontal rectangle of laurel leaves and garlands crisscrossing in green, with tied bows in pink; framed by chartreuse beaded border and pink brick border.