biglam/cooper-hewitt-alt-text huggingface dataset:
Scarf
, late 19th century
silk warp, wool weft Technique: machine woven 2/1 twill (field), 2/1 twill with supplementary weft patterning (end borders), complementary warp-float patterning (side borders); painted silk warps

Machine-woven scarf with undecorated green field and a wide border at each end containing overlapping paisley cones in two shades of red, light blue, yellow-orange, olive green, and ivory. Floral vine border on each side runs the full length of scarf in dark green, dark red and ivory.
Sketchbook Page: Azalea
Kenyon Cox, American, 1856–1919, 1874
Graphite on paper
Sketchbook folio

Sketch of a group of azalea flowers, labeled below.
Knife
, ca. 1865
steel
knife

Knife in integral form. Tapered, curved, pointed triangular blade, straight cutting edge. Notched and engraved upper edge. Rectangular handle cut in geometric facets. Oval terminal with button.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist gazing directly ahead.
Trimming
, early 19th century
silk Technique: uncut voided velvet weave

Two shields, each topped with plume helmet, one showing a castle, and the other, horizontal bars. Colors are black, red, and white on yellow ground.
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Sketches of andirons.
Botanical and Meteorological Sketches from the Río Magdalena, Colombia
Frederic Edwin Church, American, 1826–1900, May 1853
Graphite on gray-green laid paper
Drawing

Botanical and meteorological sketches along the Magdalena River, Colombia. Along upper portion, bamboo plants, a young palm tree, and a broad-leaved plant are visible. Below, two drawings of billowing clouds with falling rain are included.
Design for a sedan chair
J. Whatman, ca. 1780
Black chalk, pen and ink, brush and blue water color on paper.
Drawing

Shown in profile turned toward right.  Urns are at the upper corners.  The panel beside the window is decorated with a scroll and a garland lying upon masks.   The similar motifs decorate the lower panels.
Sidewall
, ca. 1700
Leather, stamped, painted, silvered

Portion, lacking much of its finished surface, showing bird, tulips and grapes.
Memora Mortes
, 1691
Engraving on paper
Print

Two skeletons hold up a drapery revealing a tondo carved with a mass of dead figures, a third skeleton, with wings kneels before it. Plate 2 of Errard and Genga, Anatomia, Rome, 1691.
St. George and the Dragon
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Pen and bistre ink, brush and wash on paper
Drawing

The saint is in full armor, he is shown on a rearing horse, facing right. He raises his spear to strike the dragon, left. Three lines of inscription, in ink, below framing line. Five lines of inscription, reverse.
Two Alternative Designs for Altars
Juan Dolívar, Spanish, active in France, 1641–1692, 1690
Etching on paper
Print

Two alternative designs for ecclesiastical altars. Both designs feature the same central painting but with differing frames. The painting illustrates Jesus, male figures, including Roman soldiers, and a flying angel. Both designs include a cross atop the altarpiece and flaming vase finials but with differing designs for the base of the cross. The design to the left frames the painting with a single fluted column, an intricately carved cornice frieze with foliage, and a dado level panel below featuring scrolling leaves and a figure. The design to the right frames the painting with two pilasters and plain paneling. Above, the cross is supported by two different decorative bases featuring festoons of leaves and flowers, a roundel, mascarons (masks), and scrolling leaves. The designs include two scales below the stairs in the lower center. The plate is signed and numbered.
Design for a Sanctuary Lamp
Thomas Germain, French, 1673 – 1748, 1748
Etching on paper
Print

Design for a hanging thurible (censer) with the top part of the design in the lower left corner. The design features putti (children), a portrait of a figure held by a putto, scrolling leaves, acanthus leaves, festoons of leaves and flowers, c-scrolls, fleurons, rosettes, ribbons, and a hanging tassel.
Ornament
, ca. 1785
Block-printed on handmade paper

Pieced square. In center, seated putto with caduceus and torch, in yellow, orange, and red, with foliage setting on a pale blue field. Surrounding this, a border of interlaced pink and green braiding on a green field.
Arabesque Designs
Berthelot, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

Two vertical arabesque ornament designs with neoclassical motifs, featuring scrolling acanthus leaves, festoons of flowers, leaves, and beads, rosettes, fleurons, hanging baskets of flowers, banners with armorial motifs¬¬, and hanging textiles, butterflies, shooting water, lizards, a bird, wheat, and a vignette with classical figures. The plate is signed and numbered.
Deux Potences de fer, pour pendre des Enseignes, ou lanternes.
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for metal brackets, rondels, and friezes. The plate is signed and numbered.
FLAMBEAUX A DEUX BRANCHES
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Design for a candelabra with two arms with Empire style motifs, decorated with an armillary sphere, stars, moons, a figure with bat wings wearing a cloak with stars, scrolling leaves, and sphynx torsos. A stork or swan to the left of the design and a snail to the right. The plate is titled, signed, and numbered.
Pour des Bordures
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Six rectangular and corner ornament designs featuring repeating patterns and moldings for frames and borders with neoclassical motifs including geometric, interlacing, and meander motifs, rosettes, strapwork, lamb's tongue, laurel leaves, c-scrolls, egg and leaf, gadrooning, fluting, and leaf and ribbon ornament. A plan view is included below each corner design, with a scale along the bottom. The plate is titled, numbered, and signed.
Livery trimming
, 19th century
silk Technique: voided velvet

Design of medallions enclosing, alternately, a tree without leaves and three white birds. Medallions are brown, red and blue on a white ground.
Six Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Six designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, beads, stick and ribbon molding, scrolling acanthus leaves, foliate branches, flowers, festoon of leaves, lamb's tongue, quiver of arrows, bow, flaming torch, target with hearts, drums, arms, spear with flags, vegetables, scythe, basket, rake, and sickle. The plate is numbered and signed.
Fantastical Garden with Figures
Alexis Peyrotte, French, 1699–1769, 1738–49
Etching on paper
Print

A fantastical garden scene with figures in Chinese style dress with chinoiserie style motifs. A figure sits on a pedestal while playing a triangle. Another figure to the right, holds a large plinth with leaves. A top the plinth a part-animal, part-male figure with the torso and arms of a man and the head and legs of an animal (possibly a sheep or a monkey) reaches out to hold a scrolling acanthus leaf ornament. Trees and rocaille ornament: shells, c-scrolls, scrolling leaves, and feathers surround the figures. A dragon in the upper left. The plate is signed and numbered.
Elevation of a Candelabra
, 1700–1750
Graphite, pen and ink, brush and watercolor on paper
Drawing

Octagonal base. The shaft consists of a pedestal showing a circular medallion of Christ, seated laterally, and lambrequins under a broken pediment, of a low section with the half-figure of an angel and heads on columns, of a section with seated figures in aedicules, a pediment with a representation of a Madonna and the child; laterally are busts of men carrying flower baskets on their heads. On top stand two women and two children on the base, on which the bowl with a thorn stands on a short shaft.
Section of a wall, Queen's bedroom
Frederick Marschall, ca. 1885
Brush and watercolor, tempera on heavy paper
Drawing

Section of wall. Right, large, framed tapestry panel seen partially. Left, portion of doorway, with an overdoor. Panel of gold fiugres on blue ground.
Four Medallion or Frame Designs
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Four designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, rosettes, ribbon, beads, acanthus leaves, festoons of leaves, foliate branches, flowers, fishing nets, bucket, fish, fruit, vegetables, and a tassel. The plate is numbered and signed.
William Henry Harrison
, ca. 1840
Block-printed paper, pasteboard support
Bandbox

Political campaign attack on General Harrison, shown standing in front of a log cabin, greeting a veteran. A barrel of cider sits next to the door. In the background is the Ohio River with a paddle wheel boat. Printed in colors on a blue ground. On lid: Scene with a castle on the summit of a mountain across a lake with sailboat with three men seated in the stern. There are buildings to the left and across the lake to the right. Scene is enclosed in a floral wreath.
Designs for Decorated Pilasters
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Designs for Decorated Pilasters.
Feu à l'Espagnole
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron decorated with ornament motifs including pinecone, rosettes, gadrooning, guilloche of branch, a sphere, lamb tongue, and bound leaf. The plate is signed.
Design for the Embroidery of a Man's Waistcoat of Pattern No. 10 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphite, brush and gouache on paper
Drawing

A left bottom corner. Garlands along the bottom and the rising edges; chain festoons fastened to the top edges with clusters of leaves crossing them. Stray flower boughs.
Mt. Desert Island from Sutton Island, Maine
Frederic Edwin Church, American, 1826–1900, 1850
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view of Mt. Desert Island, Maine, from nearby Sutton Island looking northeast. The atmosphere and landscape are suffused with a warm, rosy light from rising or setting sun (also a product of the brick colored ground used in this and other works from the period). The hills of Mt. Desert are visible at left with a rocky shoreline in the foreground. Light, scattered clouds throughout the top portion of the composition. Three boats with white sails glide upon the water at a distance.
Sauce Ladle with Fluted Bowl
, 1793–1838
silver
ladle

Oval bowl quartered by alternate fluted and smooth sections centering a raised oval reserve. Flat stem with bifurcated join.
Design for the Painted Decoration of a Wall
, 1850–60
Brush and gouache, graphite on paper
Drawing

A dado is shown below, an entablature above. In the panel, alternate vertical rows, consisting of lozenge rosettes and a petal and bough motifs, and two rising, intertwined bands, which form great and small circles containing rosettes and prints, respectively. Petals form the bands below, petals framed by beads above. The left bands are colored white, the right ones dark. A garland of laurel leaves and seeds beneath a purple stripe is shown on top, with its upper part against a gray background.
Garden Design
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for an ornamental garden with scrolling motifs and topiary. The plate is numbered but not signed.
Orfèvre Grossier, Ouvrages
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate depicting eight designs for silver objects including a candlestick, ewer, lidded cup, teapots, and a lidded tureen. The objects are decorated with rococo motifs and are numbered and lettered. The plate is titled, numbered, and signed.
Trimming
, 19th century
silk

Trimming has a woven header finished with loops and tassels. Color are primarily light blue with green, red, yellow, orange, and white.
Fountain Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates of fountain designs set in gardens. The fountain on the left is engaged with a wall, and has a basin held up by anguipeds and a an anguiped term under a projecting cartouche. The fountain on the right has a low shell basin set in a bed of water with an anguiped, nereid, and river god on rocks above. Above these figures is a cartouche with a scene of Neptune. Both plates are signed and numbered.
Sketchbook Page, Folio 64: Study after Bolognese Architecture and Monuments, Including Arch of San Domenico; Verso: Geometric Studies
Felice Giani, Italian, 1758–1823, 1811
Pen and brown ink, brush and bistre wash over traces of black chalk on laid paper
Drawing

Recto: formerly cut apart, composition is now rejoined.  At upper left, Ark in church of San Domenico, inscribed on plinth: S. DOMENICO BOLOGNA; and below drawing: monumento del quattro cento Bologna.  Lower left, buildings along river Reno, Bologna, inscribed below: fabriche sul Reno Bologna.  In lower corner: 64.  At lower center, Loggia della Marcanzia, Bologna, inscribed below: la Mercanzia Gotico belisimo Bologna.  At upper right, inscribed below kneeling angel with candelabrum, from Ark: Bologna monumento del quattro cento.  In upper right corner "126".  At center right, sketch of standing male in Renaissance dress with sword in scabbard, inscribed below: Bologna monumento del quat° cen. At lower right, sketches of Gothic architectural details and ornaments.  On verso: page of geometric diagrams with explanations, in pen and dark brown ink. Freehand diagrams show how to use compass to construct certain form; Pythagorean table at lower left.
Sampler
Jean Porter, 1710
silk embroidery on linen Technique: long-armed cross, herringbone, double running, detached looping, buttonhole, and couching stitches on plain weave

Cross borders showing people, animals, a house, Adam and Eve and a border of identified crowns with two inscriptions.
Ornament Design
Jean-Laurent Aublé, French, active 1740 – 1759, mid- 18th century
Etching on laid paper
Print

A design for rococo ornament featuring shell motifs and foliage, flowers, fruit, foliate branches, and leaves. The plate is signed.
"The gorilla hath taken—hath taken the hose," Illustration for and excerpt from The World's Almaniac for 1879: A Compendium of Useless and Interesting Information (p. 14, 15)
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Illustration for and excerpt from The World's Almaniac. The illustration shows a monkey spraying a hose at two giraffes. The poem below describes the scene.
Rosette Design for a Ceiling
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Rosette design for a ceiling with, from back edge to sight edge, draped flower garlands with flower tassels and torches, acanthus leaves, bead and dart, and lamb tongue ornamentation. The profile of the rosette is provided below. The plate is signed and numbered.
Textile
, mid-19th century
wool Technique: printed

Pattern of a cone-shaped ornament with polychrome flowers sprinkled on brown ground.
Project for a Hall
, ca. 1800
Charcoal on paper
Drawing

At top, design for a ceiling with panels radiating out from a central oval. Below, a n elevation with an aedicule flanked by drapery. Description at right.
Yellowstone, Above Tower Falls
Thomas Moran, American, b. Britain, 1837–1926, 1871
Recto: Graphite on tan wove paper. Verso: Graphite, brush and white gouache on tan wove paper.
Drawing

Recto: Horizontal view of valley above Tower Falls, Yellowstone.
Verso: Horizontal view of falls at middle left among tower like rock formations with mountains in background.
Ornament Escutcheon Design
Hugues Brisville, French, active ca. 1663, 1662
Engraving on laid paper
Print

Vertical rectangle showing an escutcheon surrounded by scrollwork. Perched above is a rabbit flanked by grotesque figures. Above, symmetrical arabesques with dogs and fantastic figures. The plate is signed.
Sidewall - fragment
, ca. 1840
Block-printed

Lonzenge pattern of blue with red dots at points of intersection, enclosing white geometrical pattern and floral spray.
Sepulchral monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on paper
Drawing

Probably for the young Pretender Charles Edward Stuart, who died in 1788. Steps lead to a platform upon whose corners are oblong pedestals with sitting female figures. Between the pedestals is a woman with sitting female figures. Between the pedestals is a woman shown from the front sitting upon the platform and pointing at the inscription at the sarcophagus which rises behind her. Above it is a circular pedestal with a band above its frieze similar to 1938-88-1263. On top is a huge statue. The background is colored in the shape of an oblong; some framing strokes are at left.
Oleum Olivarum (The Production of Olive Oil), plate 12 in the Nova Reperta (New Inventions of Modern Times)
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590
Engraving on paper
Print

Olives are harvested (outside), put through several stages of pressing; the oil is being extracted, refined by boiling, measured and carried away. Lower margin with inscription has been trimmed away.
Char de la Ville
Pierre François Tardieu, French, 1711–1771, 1751
Engraving on laid paper
Bound print

Chariot drawn by eight horses. The chariot is in the shape of a boat with waves along the bottom edge, canons emerging from gun ports, and a tall mast. Toward the back of the ship are nereids (sea nymphs), and at very back an enthroned female embodiment of the city, wearing a mural crown.
Plan et Coupe d’une Maison de Campagne Comanancé près Malmaison en 1792 pour Me du G par Mandar Architecte et Ingénieur en chef des Ponts et Chaussée
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a country house with a sectional view of the interior flanked by trees, and four floor plans below. The house features neoclassical motifs with decorative paneling, a central staircase, and two portico entrances. The plate is titled, numbered, and signed.
Elévation d'une porte avec son profil
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Elevation and profile of a doorway. The doorframe is decorated with ornament motifs including lamb tongue, egg and dart, and floral garland. The plate is signed.
Sidewall - fragment
, 1800–1805
Block-printed, distemper colors

Large pattern of leaf clusters in green, overprinted with diagonal cross-strokes in darker green; secondary pattern of pink vine-form. Backed with paper of same design. The paper is light brown, of coarse texture. Formerly used as a book cover.
Title Page
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Title page and six designs for medallions or frames, oval and round, decorated with moldings and topped with trophies. The ornament and motifs include laurel leaves, ribbon, beads, scrolling acanthus leaves, foliate branches, flowers, festoon of leaves, rosettes, harp, birds, flaming torch, globe, telescope, basket of flowers, armor, and spears with flags. The plate is numbered, titled, and signed.
Fragment
, 19th century
wool and silk wefts on wool warps Technique: tapestry weave

Narrow portion of tapestry with brown ground and incomplete small-scale floral design in greens, white, rose and blue.
Fragment
, 1750–1800
silk Technique: cut and uncut voided (ciselé) supplementary warp pile in a satin foundation (velvet)

Small-patterned or "miniature" velvet fragment of pink satin ground with vertically-arranged design of continuous alternating rectangles and three-lobed leaf. Border design of vertical line of rosettes and foliage. Design in white cut and uncut pile. Vertical line of dots in same technique between other parts of the design.
Design for a Buffet
Jean Berain, the elder, French, 1640-1711, ca.1680–1710
Etching and engraving on laid paper
Print

Design for an interior wall elevation featuring a large buffet set into the wall for the Parisian house of Mr. Begon, designed by Mr. Berin. The large central buffet is set into the wall with two smaller flanking buffets, also set into the wall, framed by sculpted molded frames, with shelves supported by brackets. The right half of the design shows inside of the shelves with vases, ewers, cups, and basins on display with a seated buddha figure in the upper center. The left half of the design shows the buffets closed from view with marble paneling. Pilasters divide each section of the wall, with more ornate capitals featuring masks and fleurons motifs on the left side. There is a console table in front of the central buffet with semi-circular basins in front of the side buffets, decorated with acanthus leaves. There is a scale below. The plate is titled, signed, and numbered.
Fragments
, 17th century
silk, linen Technique: woven

Religious motifs; holy monogram and skull and crossbones.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1785
Block printed on handmade paper

Vertical rectangle with arabesque or grotesque design. Printed on joined sheets of paper. Alternating motifs: two addorsed griffins upholding a flower basket; female figures sheathed in foliage, resting upon a circular medallion enclosing a butterfly; cornucopia with flowers; branches, scrolls and pearls.
Elevation of a Small Round Domed Room
Felice Giani, Italian, 1758–1823, late 18th century
Pen and brown ink, brush and brown wash over traces of graphite on laid paper
Drawing

Veritical rectangle. Divided into triangular panels with lozenges above, picture below. Caption: "dedicato a Apollo/ nei rombi le nove muse/ nei quadri diver [s]e composi/ di mitologia/ il fregio le guera/ troiani." Center: door and walls divided by pillars into panels. Sofas left and right. Below, at right, part of another caption: "terz/ p./"
Martyrdom of St. Ursula
Luigi Rodriguez, Italian, b. Messina, active in Naples, 1594 - 1696, 1600–1625
Brush and brown wash, white gouache, pen and brown ink, black chalk on brown paper
Drawing

Depiction of the story of St. Ursula.  She is standing at center left looking up with her arms crossed in front of her chest, while a soldier aims an arrow at her.  She is surrounded by the massacring of maidens by other soldiers, while winged putti fly above.
View of a Masquerade Ball
Jean-Charles Delafosse, French, 1734 – 1789, 1770–80
Pen and black ink, brush and gray wash, watercolor, black chalk on white laid paper
Drawing

A crowd in fancy dress in a hall, showing a buffet in the center of a peristyle in the rear; the musicians are disposed in balconies left and right; onlookers in galleries above.
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 bound leaf, acanthus leaves, bead and bar course, branches, guilloche with rosettes, bead course, lamb tongue, egg and dart, and ribbon twist. The plate is signed.
Monument Designs
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Two plates printed on a single sheet. The left plate illustrates two designs for monuments surrounded by explanatory text. The designs feature sculpted figures, an obelisk, globe, cartouche, vases, and a portico. The right plate illustrates four sculpted monuments surrounded by trees and foliage. The monuments feature obelisks, sculpted figures, roundels, heraldry, trophies, festoons, fluting, mascarons (masks), rosettes, and vases. The plates are titled, signed, numbered, and dated.