biglam/cooper-hewitt-alt-text huggingface dataset:
Mantelpiece Detail, Music Room
Robert Jones, British, active 1815 – 1833, ca. 1820
Brush and watercolor, graphite on white wove paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. The vertical elements of the design are semicircular in section composed of a series of colonnettes with simple capitals and bases. The entablature of the mantel is composed of a dragon with outstretched wings, in bold relief. Andirons and fire-screen, in the Chinese style, included in design.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Wall for Decoration, perhaps for corridor, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor on paper
Drawing

Elevation of a section of wall, with a painted decoration consisting of clouds and sky seen through the pillars of a balcony. Chinese frets as railings.
Fragment
, 18th century
wool embroidery on cotton foundation Technique: embroidered in chain stitch (needle-made), knots and satin stitch on a 2/2 twill foundation

Piece of crewel embroidery colored yarns with scattered motifs in a grid arrangement.  The motifs do not repeat in a regular manner but alternate a florral motif [8 different ones, sometimes facing in different directions] with an animal or bird motif [8 different ones]   Different colors are used when a motif is repeated.
Fragment
, ca. 1800
cotton Technique: two reds and black block printed, yellow and blue applied by brush on plain weave

Non-directional pattern of small flowers on a black background.
Frieze
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

Horizontally-repeating pattern of large medallions composed of scrollwork and acanthus leaves. A diaper pattern fills the space between the medallions, which rest on a bottom border of stylized acanthus. Pattern is machine-printed in greens, tans, and dark red on a background that changes from pink at the bottom to tan at the top of the page.
Winter's Enjoyment in Central Park
George Blair, active United States, 19th c., ca. 1890
Chromolithograph on heavy white paper
Print

People sledding and skating on ice; bridge left, with observers, building beyond. Foreground left, man kneeling to fix his partner's skate. Artist's name and title, lower right.
Coach
R.Ackermann & I.G.Beygangs, 1825
Engraving, brush and watercolor on paper
Print

A closed coach; the cab and box of black and yellow, the wheels and support of pink, and green interior. Title and publisher's name and date below.
Sampler
Ann Stubbs, English, 1808
silk embroidery on linen foundation Technique: embroidered in cross, satin, and eyelet stitches on plain weave foundation

Bands of pattern, several deer, text: "Hope is the first great blessing here below/ The only balm to heal corroding woe/ It is the staff of age, the sick man's health/ The prisoner's freedom and the poor man's wealth/ The sailor's safety lasting as our breath/ It still holds on, nor quits us e'en in death."
Ceiling paper
, 1905–1915
Machine-printed paper, ungrounded

Eastlake-style pattern with grid or trellis framework formed by dual lines with a Greek-key-like element at the end. Cluster of four floral motifs at intersection. Similar cluster of four floral motifs centered in each void, connected to trellis by more line work. Printed on ungrounded paper.
Vase (Plate 7 of a Series)
Enea Vico, Italian, 1523–1567, 17th century
Black ink on paper
Print

Vertical rectangle. Ewer, with a standing dog composing the handle. The body is decorated with a relief of a naval battle, heads and festoons. Inscribed below: "ROMAE AB ANTIQVO REPERTVM MD XXXXIII" and "A.E.V." on a tablet.
Border
, late 19th century
cotton Technique: printed on plain weave

Allover design of floral sprays in red, green and pink on off-white ground. Border with large and small flowers in red, green, and tan.
Button
Agostino Brunias, Italian, ca. 1730–1796, late 18th century
Gouache paint on tin verre fixé, ivory (backing), glass, gilt metal

Button depicting scene of four figures outside before a thatched hut. At center, a man in striped pants and white shirt faces a woman in a dress with a pink scarf who smells a flower. Seated man and woman on either side stare up at central couple.
Rising Steam Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Rising Steam (totewaku) shown as an undulating wave design, forms even gaps and spaces. Thin horizontal lines are carved out to create more texture.
Sun Shining Over Ocean
William Trost Richards, American, 1833–1905, ca. 1900
Graphite on white wove paper, lined
Album page

Rough sketch of sun or possibly moon, left of center, shining through clouds.
Pair of suspenders
, late 19th century
cotton, glass, ceramic beads Technique: knitted, beaded, crocheted

Pair of men's suspenders. Knitted coarse cotton with glass beads showing a symmetrical pattern of floral swags, armorials and dancing women. Crocheted scalloped border all round.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds (over resist), purple and black applied by pen and brush; madder dyed; blue applied over resist; chintz on plain weave

Parts of floral garlands in reds and blue.
The Coming of Winter, Illustration for Century Magazine (XXXVII, No, 2, December, 1888, p. 162.
Mary A. Hallock Foote, American, 1847–1938, 1888
Wood-engraving in black ink on paper
Print

Outside a house, a woman holds a child in her arms while a man beside her holds his rifle in readiness, looking toward the sky.
Sketchbook Page: Two Figures
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of two figures, a lady and a gentleman with a cane, walking together, with her hand resting on his arm.
Drawing
Carlo Amati, Italian, 1776 – 1852, ca. 1802
Pen, ink, watercolors on white paper

Design for a sofa with high, upholstered sides, seen frontally.  The frame is adorned with arabesques or garlands with oxen skulls, in alternate suggestion.
Christ Bearing the Cross, from The Little Passion Series
Albrecht Dürer, German, 1471–1528, 1509
Woodcut on paper
Print

Christ, shown in the foreground, right, has fallen to his knees under the weight of the cross. Saint Veronica comes toward him with her handkerchief. Soldiers and others in background. View of city in distance. Monogram of Dürer and date 1509 on tablet, lower right.
Border
, 1850–75
Block-printed and flocked

Shades of maroon and red and black flock, scalloped border with scrollwork,to be cut out.
Sidewall
, 1830–50
Block-printed on paper

On light green shiny ground, cut stone imitation - possibly marble - with green, yellow, and black veins.

H# 413
Band
, possibly 16th century
linen Technique: bobbin lace, continuous braid-like

Fragment of a band with geometric panels.
Louis XVI Medallions
Metaxin, 1875–1900
Block-printed paper
Sidewall

Floral sprig in medallion within a wreath. Acanthus rinceaus around medallion forms diaper pattern. Printed in green on glossy, shimmery green ground. Damask design.
Sidewall
, ca. 1850
Machine-printed paper

On an ungrounded paper is an all-over texture design in white with over-printed clusters of blue flowers and foliage. Both white and blue printed with diluted, transparent pigment.
Cover
, 17th–18th century
linen Technique: macramé

White cover with knotted white linen fringe on all four edges. The fringe was made seperately and applied to the plain weave fabric. At each end there is a an insert of knotted linen, a band of plain weave, and then a wider border of knotted fringe. The edges have been trimmed with scalloped bands of knotted trim.
Pleated fan
, ca. 1895
Painted silk gauze leaf, carved and painted wood sticks

Pleated folding fan with a black silk gauze leaf, painted with Cupid in a heart-shaped framework at center, surrounded by figures in costumes from various periods and locations. Black carved and painted sticks.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache on blue wove paper
Drawing

Small blue stars with white pinwheel centers surrounded by black leaf design on reddish-brown ground.
Candlestick
, ca. 1800–20
glass

Ovoid molded ribbed shapft with flat knop above and below, foot spreads in square molded section to thick square base; straight-sided nozzle with drippan top; ground pontil bottom.
Floral design for printed textile
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Pink, yellow and red flowers, green leaves on purple branches on whtie ground. Graphite lined border.
Flat Ocean with Dark Clouds
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

View of dark ocean with a few smaller waves breaking at right. Dark sky. Miscellaneous pen strokes in margins at right and above image, additional miscellaneous pen strokes in bottom left corner of sheet.
Textile
, 19th century
silk Technique: brocade

Small circular floral medallions in brightly-colored weft floats are closely set in staggered rows on faded cerise satin ground. Alternate rows have a crested bird.
Ceiling border
, 1875–1906
Block-printed paper

Wallpaper roll. Blue and ocher parallel bands filling about two-thirds the paper width. Border corners fill the remaining third.
Band
, 17th century
silk, metallic thread Technique: appliqué

Fleur-de-lis pattern with yellow on green counterchange.
Kenway - Rossel
Howell and Brothers, 1835 – 1900, ca. 1890
Machine-printed paper
Sidewall

On off-white ground thorny stems with large pink roses, buds and green leaves. The roses printed in wet-on-wet technique, straight repeat, drop match. On right margin: "Howell and Brothers 1540 H".
Scenic
, 1885–1895
Hand painted on handmade paper

a) Small brown heron with white undersides alighting amidst blue and pink blossoms; b) Two pink-flecked white, six-petal lilies with leaf spray; c) Three blue water Iris at pond's edge. Blue-gray leaves at base of flowers; d) Sandhill crane among blue and orange blooms, mostly lilies; e) Twin sprays of pinkish-white flowers at edge of a marsh.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

Bough with halves of leaves form a pointed crest border. Three calyces rise over a rosette in the hollows. Four and the greater part of a fifth repeat are shown.
Design for clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red, watercolor, pen and black ink, graphite, on cream laid paper
Drawing

Base decorated with horizontally placed bow, erased arrows and a wreath of roses. Above, at right, a dial with a rose and bee at top. Below, an inscription, "Linconsatnt vaincu." At left, Cupid standing on a hassock cuts the wings of a bee.
Figure Sketches with Landscape, Petra, Syria (Jordan)
Frederic Edwin Church, American, 1826–1900, February 1868
Graphite on white wove paper; verso: graphite
Drawing

Figure studies showing six partial and complete views of Church's Bedouin guides from behind, near Petra in present-day Jordan. Three are positioned horizontally across the center, fully rendered. Each is adorned in headwear and draped clothing--two wield rifles. Below them, there partial details of their heads are visible. Above, a sketch of two animals standing atop a ridge, rendered in outline, are visible.

Verso: Mixed studies around Petra, in present-day Jordan. Along upper margin, two sketches of heads/faces are visible--one of a boy with a partially shaved haircut uncommon the U.S. at the time, viewed in profile, and a frontal view of the face of bearded man. At center, a loosely rendered sketch of a portion of a building's templefront facade is included. Below, three loose studies of figures and rocks are also visible.
Staircase Balustrade Design
Jean François Forty, active 1775 – 1790, late 18th century
Etching and engraving on laid paper
Print

Design for an ornamental ironwork staircase balustrade decorated with wave motif, scrolling leaves (rinceaux), foliate scrolls, fleurons, rosettes, s-scrolls, flowers, a vase finial, and a fluted column. The plate is signed and numbered.
Trophies with Attributes of Fishing
Jean-Charles Delafosse, French, 1734 – 1789, 1734–89
Etching on Paper
Print

Trophies with attributes of fishing.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Fifth plate from a series of bifurcated arabesque/ grotesque panel designs with a different design on the left and right side of the plate. The ornament features fleurons, foliage, rinceaux, scrolling leaves, cartouches, plaques, architectural details, herms, shells, vases and baskets of flowers, canopies, terminal figures, a fairy, birds, figures, drapery, rosettes, and diaper and trellis patterns. The plate is numbered and signed.
Printing block for embroidery
, 1825–50
wood, copper, brass

One of twenty-one wood blocks showing a different floral motif formed by metal strips set in wood.
Fragment
, 19th century
silk Technique: double cloth

Design of palmettes in yellow and blue.
Anatomical Study of Male Nude
Daniel Huntington, American, 1816–1906, ca. 1850
Graphite on buff wove paper
Drawing

Nude man, standing at left, facing left, with left arm raised. His left foot unfinished. Section of geometrical plan, upper left.
LA FONTAINE DES SS. INNOCENS
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Two views (front and side) of the façades of the fountain of the Innocents from the rue de St. Denis (left) and rue au Fer (right) in Paris. The fountain is decorated with classical motifs, with an upper loggia supported by arches, balustrades, pilasters, nymphs, and water themed friezes above. Below, on the street level, taps where figures are filling up buckets. The plate is titled.
Coffee pot and lid
, 1800–1825
Enameled tôle

a) Cylindrical chamber fitted with coffee basket, standing vertically on pierced square base, which is fitted with sliding drawer for heating arrangement. Cylinder has faucet at bottom, and at top two ring handles with lion-mask holders. B) flat cover with flame finial. Black, with gilt and painted decoration.
Design for a Ceiling
, 1700–1750
Graphite, pen and ink, brush and wash on paper
Drawing

Corner of a ceiling shown. A crowned shield is flanked by putti. Above this, a vase with flowers stands upon a balustrade, viewed from below.
Church Facade
Unknown, Italian, 18th century
Graphite, pen and brown ink, brush and gray wash on white paper
Drawing

Incomplete drawing of a church facade with a side tower (at left).   The most finished section of the drawing is at the lower left.  Two stories facade with series of columns and pilasters alternating with arches and windows.
Couple at a Window
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1866
Etching on cream paper
Print

A man, seated with his back to the spectator, converses with a seated woman, holding a wineglass on a table, near a window. A map hangs on the wall in the background.
Mt. Katahdin at Sunrise, from Katahdin Lake, Maine
Frederic Edwin Church, American, 1826–1900, 1852 or 1877 - 1878
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Mt. Katahdin at sunrise, as seen from the eastern shore of Katahdin Lake. The mountain's rocky, pyramidal peak--prominently visible at cetner--is touched by the warm light of the rising sun, which crests the ridge at right and casts the peak in a hue of purple. The mountain and its surrounding ridgeline are clearly reflected in the placid waters of the lake below, which occupy the foreground. In the middle distance, the heavily wooded opposite shoreline stretches across the composition, largely enshrouded. Above, small patches of blue sky are visible through a bank of peachy, cream-colored clouds.
Three Window or Door Cases
Filippo Marchionni, Italian, 1732–1805, ca. 1770
Charcoal, pen and ink, brush and gray watercolor on laid paper
Drawing

Above: with a surbased pediment with a mask, and drapery festoons inside. Center: straight upper entablature supported by a pillar. Above the frame of the opening is a panel with moldings framing an oblong. Below: a triangular pediment with a vase inside from which festoons hang; the vase stands upon the frame of the opening.
Cup (and Saucer) with Raised "Gotzkowsky" Pattern
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1740
hard paste porcelain, vitreous enamel, gold
cup (and saucer)

Lobed cup with round foot and slim handle. Indistinct molded floral decorations. Diaper pattern gilding interior rim and solid gold band at foot. Unmolded panels painted with figures including the Commedia dell'arte zannie Harlequin, who has a slapstick in his belt.
Winter Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, possibly 1870–1871
Graphite and oxidizing white gouache on tan wove paper
drawing

Landscape sketch showing a view of the winter sunset over the Catskill Escarpment, looking southwest from the artist's estate known as Olana. Loosely rendered, the middle distance comprises of the Hudson River and rolling terrain at the foot of the mountains. In the distance, Overlook and Plattekill Mountains rae partly enshrouded by clouds at center left, while Indian Head Mountain is included at center. The rest of the Escarpment loosely trails off to the right. Above, a low-lying bank of dark clouds intermingles with other puffy and wispy clouds as the sun sets behind them and illuminates the sky.

Verso: Indistinct design, possibly an architectural detail.
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At left is the points of the arms in -1051. At right lies another trophy with a shield.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647
Etching on laid paper
Print

Design for a chimneypiece and overmantel in the form of a classical temple façade with classical baroque motifs including statues of women on plinths, festoons of leaves, fluted pilasters, a frieze with rosettes, and animal skulls, and a round cartouche above with a cipher framed by a festoon of leaves and palm leaves. The moldings and sculpted motifs feature leaves, acanthus leaves, ribbons, egg pattern, rosettes, foliate branches, and masks (mascarons). The plate is numbered.
La Chasse
François Boucher, French, 1703–1770, 1749-1761
Etching and engraving on white laid paper
Bound print

Scene of two young children, a boy and a girl, who have set up a trap to catch small animals. The setting is a rustic landscape framed by a rocaille border of scrolls, fruit, and leaves, and a medallion with birds in it at the top. The plate is the.pendant to "Fishing" (1921-6-203-10).
Temple of Jupiter at Sunrise, Baalbek, Syria (Lebanon)
Frederic Edwin Church, American, 1826–1900, May 7, 1868
Graphite and white gouache on white wove paper; verso: graphite
Drawing

Architectural study showing the ruins of the southwestern portion of the Temple of Jupiter at Baalbek in present-day Lebanon.Touched by the light of the rising sun, a colonnade made up of seven Corinthian columns supporting a ruinous entablature is viewed obliquely at center. The area around the colonnade is strewn with other stones, ruins, and collapsed walls. The sun is visible near the horizon at center.

Verso: Loose architectural sketch of the colonnade of the Temple of Jupiter at Baalbek, Lebanon, visible at left, with sketches of a human figure at upper right and a laden donkey, shown from the front at lower right.
Fragments
, 19th century
silk, metallic thread Technique: woven

Orange ground with diamond-shaped lozenges in a staggered horizontal repeat containing plant and flower forms in gold thread, pink, purple, green, and blue.
Ornamental Vase Design
Joseph Marie Vien, French, 1716–1809, 1760
Etching on laid paper
Print

Double-handled vase with a thin, fluted neck. The handles terminate at mascarons places on the shoulder of the vase. A garland of grape vine is draped across the vase, connecting at each handle and at the mouth of each mascaron. The bottom of the vase is carved in low-relief with an organic formation of grape vines. The vase has a tapered foot and is elevated on a platform that extends to the edge of the image. The plate is signed and numbered.
South American Volcano
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Graphite on light green wove paper
Drawing

Landscape sketch showing a view of a snow-capped volcano in the Andes Mountains of South America. Visible beyond a short range of gently rolling hills, the mountain has an extremely rugged and sharp peak that abruptly rises into the sky. Dark patches of rock stand out against the otherwise snow-strewn peak.
Tree Fern and Grasses, Ecuador
Frederic Edwin Church, American, 1826–1900, May–July 1857
Graphite on off-white wove paper
drawing

Verso: Botanical sketch showing a view of a tree fern and nearby grasses in Ecuador. Rising along the vertical axis at center, the treefern has a scaly, spiny trunk and swirling, tendril-like branches that unfurl like those of a fern. Below it, long blades of grass or perhaps the tops of bamboo trees are visible. 

Recto: Botanical sketch of two air plants wreathed in vines in Ecuador. At center, two air plants are shown with long, lush vines hanging off of them. Large leaves are visible throughout. At lower right, a detail of a plant with striated leaves is included.
Portrait of F.S. Church, Illustration for Harper's New Monthly Magazine (LXXVIII, No. CCCCLXIII, December 1888, p. 53)
Frederick Stuart Church, American, 1842–1924, December 1888
Printed in black ink on paper
Ephemera

Portrait of Frederick Stuart Church, who looks directly at the viewer.
Memorial to William Earl Cowper
François Boucher, French, 1703–1770, ca. 1730
Engraving on cream laid paper
Print

Leblanc 48. "Guilelmo/Comiti Cowper/Magnae Britanniae/Cancellario."
Enseigne d’horloge
Jacques Valentin Fontaine, French, active 1740 – 1760, 1742–55
Etching and engraving on laid paper
Print

Design for a clock sign with rococo motifs, featuring strapwork, tassels, scrolling acanthus leaves, fleurons, gadrooning, a monkey, lion, cockerel, and topped with a crown and foliate branches. In the center a clock face with roman numerals and a rosette center holding the clock hands. The plate is numbered and signed.
Floral Trophy
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Floral trophy ornament design incorporating flowers, foliate branches, festoon of flowers, birds, model of a foot, palette, paint brushes, portfolio, measuring devices, caliper, and an easel. The plate is numbered.
Design for Embroidery
, 1780–1790
Brush and tempera, brush and Chinese white on paper
Drawing

A group of flowers, leaves, and two cornucopias form the center of a design enclosed within a border. Water pours from the horns to a pool below. Reeds, lower center and at upper right, lower right corners.
Section of a wall
Frederick Marschall, ca. 1885
Brush and watercolor on heavy paper
Drawing

Section of wall, showing panel of silk brocade above wood dado. Left, lacquer and ormolu commode.
Two Figures in a Rowboat
Winslow Homer, American, 1836–1910, 1880
Brush and gray wash, graphite on off-white paper
Drawing

Horizontal view of a boy and girl in rowboat, at center, with a schooner on horizon, at right.
Teatro Filarmonico, Accademia Filarmonica, Verona, Italy: Section and Ceiling
Jean-Joseph Chamant, French, 1699–1768, 1715–20
Pen and brown ink, brush and brown wash, black chalk on white laid paper
Drawing

Architectural drawing for the Teatro Filarmonico. Lower right side of drawing details seating section of theater. Upper right side details ceiling decoration. Lower left side depicts left side of the stage. Each design is noted with letters and accompanied by a description in Italian.