biglam/cooper-hewitt-alt-text huggingface dataset:
Cartoon for a Woven Carpet
, ca. 1848
Brush and gouache on heavy woven paper, lined
Drawing

Part of a large repeat showing a spray of roses and other flowers on a red ground, framed by foliate cartouches, with blue and green grounds outside blue and green enframement.  Continuation of repeat on 1954-23-11 and -13.
Graphite line across top edge; underpainting in green.
The Domes, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

View of mountains on left and in the distance with tree and plant-lined stream.
Design for Wallpaper and Textiles: Flowers
, 19th century
Brush and gouache on light blue paper
Drawing

At center of page three clusters of yellow flowers with foliage at base. Behind flowers, two stems of brown foliage.
Band
, late 17th century
linen Technique: bobbin made continuous tape with net added

Dense small scale flowers.
Cravat end
, 1690–99
linen Technique: needle lace, 6-sided reworked grounds

An allover small-scale branching pattern giving the appearance of coral branches.
Plate 20, from Livre de bijouterie (Book of Designs for Goldsmiths and Jewelers)
Léonard Thiry, Flemish, 1550, ca. 1570
Engraving on paper
Print

Design for a chain with pendant with alternative designs. At left, links are separated with masks; at right, they are separated with term figures. Circular pendant has a trefoil cartouche and is encircled with pearls.
Sketchbook Page: Portrait of a Young Man
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketch of the head of a young man, seen frontally.
Border
, 1835–45
Block-printed and flocked on handmade paper

Rococo moldings decorate the upper and lower edgings; enclosed between them, with a flocked background is a frieze of flowers of alternating colors; printed in yellow, gold, blues, greens, with a rust and dark brown flocked background.

H# 555
Distaff
, 1778
wood, metal

Carved and incised wooden pole composed of two sections, the lower section on X-form foot.
Narrow band
, 18th–19th century
silk, metallic yarns Technique: tablet woven (double-faced weave for the pattern area and warp twining for the borders)

Long, narrow band with Arabic inscription amid geometric forms worked in silver and black; a small silver tassel at each end.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Landscape with snow-capped mountains in background, green trees in middle ground, and bushels of pink carnations in foreground.
Sketchbook: Figure Studies, Copies After Velázquez
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook

Inside front and back covers of sketchbook. Front cover: Sketch of head with round cheek, turned toward right. Back cover: Sketch of turnip at left; various names and addresses.
Band
, mid–late 17th century
linen Technique: needle lace

Pieced-together elements from a needle-lace floral vine border, with a delicate picot along the top edge.
Inkwell and stand
, 18th century
Earthenware?, metal, glass

Green inkwell, decorated in relief with rope and vine motifs, with two cups with metal lids on top and open shelf on bottom.
Sidewall
, 1860–80
Machine-printed on paper

On off-white ground with glossy alternating floral pattern; brown and tan stripes with beaded edge and clusters of roses.
Curtain paper
Jeffrey & Co., 1836–1930 London, England, 1872
Machine-printed paper, embossed

Floral stripe design, printed on striped background. The background stripes alternate between deep blue and off-white, separated by a strand of strung beads. Printed in blue, red, yellow, black, green and brown on textured white ground.
Sampler
, late 19th century
wool embroidery on cotton foundation Technique: embroidered in cross stitches on plain weave foundation

Long and narrow panel of motifs.  At one end a rectangle "Album."
Ceiling paper
Imperial Wallcoverings Inc., American, founded 1901, 1905–1915
Machine-printed paper

On cream-yellow ground, treillage of green vines attached to large four-leafed flowers in green and terracotta; in between there are small cross-shaped motifs with small green fronds.
Dado
, 1790–1825
Block-printed on handmade paper

Inset panel dado on robin's egg blue ground alternating large horizontal rectangle panels and smaller vertical rectangle.  Panels outlined in foliate "molding" and beading.  Row of beading top, foliate bottom, shades of gray-brown.  Central motif of flowers in urn in dish with snake handles.

H# 630
Textile
, 1700–1750
silk Technique: 5-harness satin damask (warp face of satin for background)

Yellow damask with a very bold, large-scale, vertically symmetrical pattern of a large blossom with fruit and leaves. Length of pattern is incomplete.
Academic Study of a Female Nude
Kenyon Cox, American, 1856–1919, ca. 1890
Charcoal on laid paper
Drawing

Study of the back side of a nude female figure.  Figure turned towards a wall, looking over left shoulder; hands raised and pressed on the surface.
Bollinger Champagne Crate
Tiffany & Company, American, established 1853, late 19th century
Plated metal
Matchsafe

Rectangular, in the shape of a wooden crate, featuring incised decoration of 2 champagne glasses on front, inscribed "Glass, Keep This Side Up," on top, long side inscribed "Bollinger," on bottom long side, inscribed "Dry Extra Quality," on left side "E. &. J. B., 10.448," on right side incised anchor with "R.B. & C" at center and larger "P." at lower, right-hand corner. Crate has simulated straps wrapped around each end and small incised marks resembling nail-heads on edges of sides. Lid hinged on left side. Striker on underside of box.
Sketchbook Page: Man's Head
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Portrait of a bearded man, looking towards the left.
Sampler
, 19th century
silk on cotton Technique: cross and darning stitches on plain weave foundation with paired warps and paired wefts (basket weave). Counted stitches.

Darning sampler with six darning crosses simulating plain weave, twills and knitting.  Three practice squares and isolated motifs such as crowns, people, and flowers.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Designs for ornament including scrolls, garlands, and rinceaux composed as cartouches, brackets, console tables, frames, and free motifs. The plate is signed and numbered.
Kanaya: View of the Oi River from the Uphill Road (Kanaya, Sakamichi yori Oigawa chobo)
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Behind the road is the Oi river. In the background is Mount Fuji, brightly contrasting among the green mountains and red skyline. At the forefront are three travelers; two by foot and one on horseback.
Design for a clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red watercolor, black wash, on cream laid paper
Drawing

Clock sits on footed base, lower panel decorated with intertwining leaves and branches. Bottom portion of clock decorated with rosettes, cornucopia, and central mask. Above dial, a horn and a quiver. At left, a boy in a helmet, holding a dog. A spear and bow lean against clock.
Plan de l'Ordre Corinthien
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Plan for the ceiling of a room detailing the location of the Corinthian columns. The ceiling is decorated with ornament motifs including sphynxes, birds, drapery, mascaron, and scrolls. The plate is signed and numbered.
Design for decoration of a title page
Carlo Marchionni, Italian, 1702–1786, 1725–50
Graphite, pen and dark ink, brush and gray watercolor on laid paper
Drawing

A scroll of paper, cut above and below to form scrolls, like those of an escutcheon, is framed below laterally by two branches with leaves. In the center above are a putto, and two cornucopia from which swans are eating, having festoons around their necks.
Study for the left maenad, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black, brown crayon, graphite on paper
Drawing

Detail of female figure's legs with one bent knee. Study for the lower part of the body.
Portrait of Marc de Wilson
Nicolas Regnesson, French, 1620 or 1625 - 1670, 
Engraving on paper
Print

Portrait of Marc De Wilson.
Design for a Carriage
, 1782–85
Pen and brown-black ink; brush and watercolor on cream laid paper bound in vellum
Drawing

Inscribed account book, including eleven pen and ink and watercolor folding drawings of the Cardinal de Rohan's carriages.
Vase
, mid–late 18th century
Glazed porcelain

Broad pear-shape, with trumpet lip. Coated from white rim to low foot with monochrome glaze having pear skin texture.
Fragment
, 13th century
silk, linen Technique: plain weave

Plaid made by unevenly placed warps and wefts.
Stage Design, Palace Interior
Angelo Toselli, ca. 1765? – 1826, 1815–30
Pen and light brown ink, brush and watercolor, graphite on paper
Drawing

Horizontal rectangle. A circular building, with a central pillar like a pavilion to which steps lead between pedestals with crouching sphinxes, and with openings between the pillars of the ante circle leading apparently into another one.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

Unknown buildings and architecture lined up along grassy green field at bottom, with trees interspersed. Printed in pink, white, green, adn black on blue fie4ld.
Chiffoniere, Petit Coffre à Bijoux, Encoignure
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and plan for a small table with a basket, a small jewelry box, and a chest of drawers fitted to a corner. The furniture is decorated with ornament motifs including fluting, guilloche, and flowers. The plate is signed and numbered.
Chimney Pieces, Furniture and Ceiling Medallion
Felice Giani, Italian, 1758–1823, 1790–1810
Pen and brown ink on laid paper
Drawing

Horizontal rectangle. Verso: two chimney pieces, part of the elevation of a sofa, a console table,  a wash stand, a klismos chair,  Recto: a bowl, lance and helmet, and medallions disposed in two rows;  in each is a walking or running putto. Above each medallion is written by Giani with ink, respectively: asta, elmo,   sc(u)do , spade.
Le Feu
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Allegorical print representing fire with three putti sitting in a landscape around a small fire. Two warm their hands while the third holds some branches tending to the fire. The title is inscribed in graphite. The plate is signed.
Sketch, the Virgin as Regina Coeli with the Child
Fortunato Duranti, Italian, 1787 - 1863, 1800–1825
Brush and dark brown and sepia wash on paper
Drawing

The Virgin sits in a niche, upon a lion, turned toward the right .She is in royal attire with crown, mace, and globe. The child, seen from the left, kneels in her lap, his head turned toward her.
Design for Case Clocks
, ca. 1805
Graphite, pen and ink, brush and watercolor on paper
Drawing

Center design: case with painted panels of landscapes, the hood surmounted by the figure of Chronos. Clocks to left and right have simple wood cases, the design at right having a pedimented hood and panels with painted tracery.
Sidewall
, 1825–35
Block-printed

Irregular fragment of paper with white stripes containing serpentine bands set with rosebuds, and reserve stripes printed with rose and rosebud.
Study of Drapery
Giovani Gioseffo dal Sole, Italian, 1654 - 1719, 1675
Chalk on paper
Drawing

Drapery study with many folds.
Puzza tenant son fils Horus Divinitéz qui préside aux grains et fruits Chez les Chinois
François-Thomas Mondon, French, 1709 – 1755, 1736
Etching and engraving on laid paper
Print

A chinoiserie (European decorative arts and architectural style inspired by fanciful ideas of China and East Asia) ornament print featuring mythological figures, and a fantastical animal. The central ornament features rocaille motifs, bat wings, shells, feathers, scrolling leaves (rinceaux), c-scrolls, and festoons of flowers and pomegranates. A figure atop the ornament, with the head of a sheep or goat, body of a man, and a fish tail, holds a small boy or man in his arm and wheat in his hand. To the left, the fantastical head of a creature looks towards the mythological figure. Below a man wearing a crown, with a fish head as a tail, morphing into the ornament. The plate is titled, numbered, and signed.
Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Pastoral themed trophy design incorporating foliate branches, flowers, basket, and festoon of flowers. The plate is signed and numbered.
LE JEU DE L’ARBALESTE / LES PETITS PANTOMIMES.
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Plate from a series of twelve scenes of children playing, framed within decorative rococo cartouches, two per plate, side-by-side. The left-hand scene depicts a group of boys within a landscape, playing with bows and arrows, aiming for a hat in a tree. The right-hand scene shows a group of children within a garden landscape looking down at a couple of marionettes, with a man playing a bagpipe. The titles are lettered below each cartouche and the plate is numbered.
Figural Study
Giacomo Cavedone, Italian, 1577 - 1660, ca. 1640
Red crayon on paper
Drawing

At left a sketch of a nude man being carried by two men.  Behind the man a woman looks on while another behind them carries a large vessel.  To the bottom right another man is being carried while others look on behind.  In the background draft of architectural columns and arches.
Church Domes, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Oil and graphite on tan paperboard
Drawing

Architecture sketch showing two domes of a church in Colombia or Ecuador. The dome at left features a lantern and rests on an octagonal tambour with windows in each section. Similarly, each section of the dome features two crosses each. The dome at right is shorter but wider and made of a brick- or terra cotta-colored tile. The church's wall that faces us is red at right and stucco at left.
Excerpt from "An Artist Among Animals" from Scribner's Magazine (XIV, No. 6, December 1893, p. 757, 758)
Frederick Stuart Church, American, 1842–1924, 1893
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Magazine on Frederick Stuart Church and his creative process. Page 757 has one illustration in the lower center of chickens eating. Page 758 has one illustration upper left of a rag doll.
Architectural Sketches, Burak, Syria
Frederic Edwin Church, American, 1826–1900, April 27, 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Architectural sketches showing four details of ancient Roman ruins near Burak (also spelled Burraq), Syria. Base of arch visible upper left, a stone with a carved wreath shown upper right, the arch of a small doorway at lower left, and a fallen column capital is visible at lower right.

Verso: Architectural sketches showing two views of ancient stone walls near Burak (also spelled Burraq), Syria. At left, a ruinous arch is viewed obliquely, and at right, a wall with two windows is shown.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with a narrow-neck vase at the bottom, with ram-head pulls, gadrooning, and drapery, from which emerges scrolls, foliage, a medallion of a classical scene, a mascaron, cornucopia, and a basket of flowers.
Two Snuffbox Lid Designs
G. Roberday, French, active 1697 – 1713, 1710
Etching on paper
Print

Two designs for snuffbox lids, one above the other, featuring chinoiserie motifs. The upper design includes two figures dressed in Chinese style at a small table within a landscape. The man holds a large parasol with a monkey on top, and the female figure holds a fan. The lower design features a bird with a frog in its beak with another frog jumping away. The borders feature strapwork, scrolling leaves, and fleurons. The plate is signed and numbered.
Design for a Bracelet
, ca. 1785
Pen and black ink, brush and gray watercolor, silver on light green paper
Drawing

Jewelry design for a bracelet. In the center, a framed oval with a bouquet of flowers tied with ribbon, the oval bordered in a scalloped pattern decorated with gems. The chain is composed of nine rows of disks or beads, one stacked above the other. Bevelled corners.
Agony in the Garden
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1580 – 1595
Pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto: Christ kneels at right before an angel that appears in a burst of light at upper left. Sleeping apostles are shown behind, with soldiers approaching from the right background. Verso: Blank.
Bacchanal
Andrea Mantegna, Italian, ca. 1431 - 1506, ca. 1500
Engraving, possible addition of brown ink on off-white laid paper, laid down
Print

Beneath an apple tree intertwined with grape wines, six men, one satyr, and four putti indulge in wine from a large barrel used prior for crushing grapes. From left to right, the following happens: a distracted putto looks away; a man sitting atop the shoulders of another man passes on a laurel wreath to the third, who takes it in one hand, while holding a Horn of Plenty with the other; a satyr in the background drinks from a jug; a man leaning on the barrel sings in the ear of another swooning over the barrel's edge; two putty are asleep below the barrel, while a third tries to climb inside it; two men, one sitting on the edge of the barrel, sounds the horn while holding a cup, and a second man drinks from a bowl while wetting his toe in the spring of wine flowing out of the barrel, pulling the horn out of the first man's mouth. The whole scene is horizontally arranged in a shallow space, between indoors and outdoors - likely a courtyard.
Bernini's Fountain of the Four Rivers
Francois de Poilly the younger, French, 1671 – 1723, ca. 1707
Engraving on paper
Print

The fountain of the four rivers in the Piazza Navona, Rome, designed by Giovanni Lorezo Bernini (1598-1680), as a base for the obelisk removed from before the Baths of Caracalla.
Possible Design for a Title Page
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite, impressed lines on paper
Drawing

Two small girls sit upon the base of a monument and sing, one playing the harp, the other the guitar. The latter sits upon a cushion. A figure - bearded head and the bust-like body of a herma - stands in the center, above, on a high pedestal, bearing the inscription: "IL CANTO AR / MONICO DELLA VIRTV." Framing line.
Embroidery sample
, ca. 1790–1800
silk Technique: embroidered on taffeta

Multicolored silk embroidery in a floral design on a green ground.
Scent Bottle
, 19th century
glass, silver
scent bottle

Cigar-shaped scent bottle with metal trim and chain.  Shape is cylindrical with hemispherical ends with silver top with chain mounted at about three-quarters of entire length with small opening.  Hinged silver collar holds glass top, remaining one quarter of entire length.  Glass is double, enclosing pierced rococo scrolls. Simple band engraving on each silver collar.
Sidewall
, 1920
Block-printed, embossed

Medium sized diamond shaped motifs of geometric design of small broken lines in greens and browns. Between are smaller diamond shaped motifs of interlaced geometric borders also in greens and browns on tan field. Field is embossed to simulate grained leather. Entire paper is antiqued by hand. The effect is that of stencil work.
Mixed Sketches, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on off-white wove paper; verso: graphite
Drawing

Mixed sketches showing views of a sandy river bank, a thatched structure, and vegetation covered in vines in Ecuador. At upper left, a sandy river bank with numerous tree roots is visible. A long thatched structure with an overhanging second floor and plaster-walled first floor is show at upper right. Below, two studies of vine-covered trees are visible. 

Verso: Landscape and architecture sketch from Ecuador showing a view of several buildings from a slight distance, likely from the middle of a river. A large structure is visible at center with a spire or other tower at right. Silhouette of mountain ridge comprises background.
Top of Tequendama Falls, near Bogotá, Colombia
Frederic Edwin Church, American, 1826–1900, June 1853
Oil on tan paperboard
Drawing

Landscape sketch showing the top of Tequendama Falls near Bogotá, Colombia. The nearby cliff edge is visible at left, craggy and moss-covered. At center left, the muddy waters of the Bogotá River cascade over the edge of the cliff, tumbling down in a terrible, misty cataract that produces an arched rainbow at lower right. The opposite, heavily wooded bank of the river is visible at upper left, while the canyon's sheer, rocky face is shown at center right.
Three Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A larger ornamental frieze above with two smaller designs below with scrolling leaves (rinceaux), a vase, mascaron (mask), griffin, centaur, festoons of leaves, and foliate branches.
Panneaux de Lambris à côté d'une Croisée
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Elevation of an interior with paneling around a central casement window, and motifs featuring garland, crossed branches, floral garland, trophy with military attributes, and rosettes. The plate is signed.
Sidewall
, ca. 1850
Oil colors

Simulated wood graining. Printed in oil color on white paper.
Mount
, early 19th century
Silvered brass

Vertical rectangle with repoussé bust of Julius Caesar (?) on a pedestal, with wreath held above by a woman in helmet and breastplate, who carries a spear in left hand; to the left is a seated female figure inscribing in a book with a pen.
Printing block
, late 18th–early 19th century
wood, metal

Small wooden block with raised design of an open rose and leaves.
Fragment
, 17th century
silk, linen Technique: plain compound weave (brocatelle)

Large scale floral forms in red and yellow silk. Linen weft not visible. Textile known as 'brocatelle'.
Sidewall
, ca. 1840
Machine-printed on paper

Drop-repeating pattern suggestive of stenciled decoration. Conventionalized rose-tree with three flowers; ground sown with staggered rows of clustered green strokes suggesting fleurs-de-lys.  Printed in green, pink and brown on white ground.
Border
, 19th century
linen Technique: bobbin lace, Brussels style

Duchesse style lace with a pattern of flowers, buds and leaves.
Trek up Mt. Fuji
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Villagers carrying food and gifts to bring to the top of Mt. Fuji as offerings for the new year. Two men also carry an older figure who is unable to take the trimerous hike without help. Many of the men are wearing traditional attire.
Architectural Ornaments
Carlo Marchionni, Italian, 1702–1786, 18th century
Pen and black ink, brush and gray watercolor on cream laid paper
Drawing

Design for an architectural ornament with grotesque ornament. Plants and measurements at top.
Madonna and Child with St. Joseph
Felice Giani, Italian, 1758–1823, 1816
Pen and ink, brush and brown watercolor wash on paper
Drawing

On verso: five studies of ceilings with grotesque
Staircase Balustrade Design
Laurent Desboeufs de Saint-Laurent, French, active 1763 – 1776, 1772–77
Etching and engraving on paper
Print

A design for a wrought-iron staircase balustrade with a sculpted flaming vase newel finial with ram's heads, scrolling leaves, and gadrooning ornament. The plate is numbered and signed.
Study for a group, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper mounted on board
Drawing

Sketch of male figures posing with legs bent and arms raised. Similar group as that in -a, in opposite direction. The second maenad is transformed into a Silenus, whose hair the first maenad seemingly pulls.