biglam/cooper-hewitt-alt-text huggingface dataset:
Fragment
, 10th–12th century
linen, silk Technique: plain weave, cross stitch and long-armed cross stitch

White linen ground with three bands of dark blue in an embroidered design of S-shaped motifs.
Winter Niagara Falls, General View from the American Side
Frederic and William Langenheim, 1856
Glass stereoscopic transparency, black tape, brush and white and gold paint
Photograph

Davidson, G. et al. "Frederic Church Winslow Homer and Thomas Moran: Tourism and the American Landscape." New York, Bulfinch Press, Smithsonian Institution, 2006. Figure 27, p. 98.
Three Putti
François Boucher, French, 1703–1770, 1738–49
Etching on laid paper
Print

Three winged putti in the clouds, with ribbons wrapping loosely around them. The three putti hold onto palm branches in the center. The plate is signed and numbered.
A Port Scene
Pierre-Jacques Volaire, French, 1729 - Before 1802, 1775–1800
Red chalk, pen and ink, brush and watercolor on paper
Drawing

Walking and seated figures, and a dog are in the foreground. In the middle plane are groups of people and donkeys. Some people gather under an awning. Barrels at left. Buildings border the water.
Trimming
, 19th century
silk Technique: woven

Red and white trimming fragment in a design of a fret pattern with open flowers between borders of twisted bands.
Hand Mirror with Scenes from the Story of Medea
Etienne Delaune, French, 1519 - 1583, 1561
Engraving on white laid paper
Print

Vertical rectangle showing the back of a hand mirror. The central scene shows Medea fleeing Corinth in a chariot drawn by winged dragons, which belonged to her grandfather Helios. Below, Medea rejuvenates Jason's father Aeson.The frame design is densely composed of strapwork and female figures. At top, an enthroned woman. Pearls hang from the frame on either side.
Chandelier à deux branches
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm candelabra decorated with acanthus leaf, bound leaf, spiral fluting, and garland. The plate is signed.
Ornamental Vase Design
Georges Charmeton, French, 1623–1674, 1677-1703
Engraving on laid paper
Print

Lidded vase with a finial. Below the shoulder of the vase is a band of carved mascarons and lion faces. The body of the vase has a ring of acanthus leaf decoration and hanging festoons of leaves, ribbons, and fruit. The vase has a tall foot with two-tiered egg-and-dart decoration. The vase is elevated on the left side of a simple, rectangular, worn socle that extends beyond the right edge of the image line. The plate is lettered and numbered.
A Bouquet of Flowers
Jean-Baptiste Pillement, French, 1728–1808, 1760
Etching on laid paper
Bound print

Third plate from a series of designs for bouquets of flowers. In the center a bouquet of flowers, three large flowers, with some smaller flowers on their stems with leaves and foliage. The plate is signed.
Design for Frame Surrounding the Portrait of Sir Walter Raleigh
Gravelot, French, 1699 - 1773, active in England, 1737–39
Pen and black ink, brush and wash, graphite, charcoal, red chalk on paper
Drawing

Design for frame surrounding the portrait of Sir Walter Raleigh. A frame standing upon a concave dado before which a figure of a child or putto writes in a book, which he holds upon a globe. Framing lines and narrow paper margins.
Design for a Balustrade (Rail)
Gabriel Bonthomme, France, active ca. 1775, ca. 1775
Etching on paper
Print

Design for a wrought iron balcony rail (or section of a balustrade) featuring leaves, beads, rosette, scrolling and meandering bands. The plate is signed.
Vestment
, 19th century
silk and metal Technique: tapestry weave

Blue silk with abstract ornaments in gold; the edges are gold and each end has bands of gold and gold fringe.
Sketches for an altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At right: an altar furniture with above the tabernacle, with a slightly altered design of the right tone in -1375. The angels support also brackets as in -1375, left. Outlines of the back of the framing. Above, at left, a sketch of the altar, seen from its left corner. Pen. At left, below, a sketch of the mensa with the sepulchrum, in the shape of a reliquary box; pen, brush.
Calice. Goupillon. Bénitier.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Design for a chalice, pipe cleaner, and water font in metal. The chalice at the left features lancet leaf, bead, fluting, and gadrooning ornamentation. The pipe cleaner in the center has a spiral pattern, fluting, and leaf decoration. The water font at right has a handle and garland, guilloche, fluting with channel ornamentation, lamb tongue, lancet leaf, and gadrooning decoration. The plate is signed and numbered.
Alcove with a Bed and Figures
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

A figure lying in a bed within an alcove with a male figure holding a sword and wearing a feathered hat to the left of the bed. The bed canopy is topped with feather finials and hung with textiles. A tapestry along the back wall, and balustrade in front. The canopy is flanked by ornately carved moldings and overdoor panels, and in the center above, an oval cartouche framed by putti and festoons of flowers and fruit. A statue of the Roman god Mercury on a plinth to the left, and a standing female figure on a plinth to the right. The plate is numbered and includes the publisher's address, with a scale below the scene.
Sheet with Sketch of a Monk
Felice Giani, Italian, 1758–1823, mid-18th–early 19th century
Black chalk, brush and gouache on blue laid paper
Drawing

Horizontal rectangle illustrating two sketches of a monk.
Candle bracket
Unknown, ca. 1750
Wrought iron

Made of strap-like scrolls of iron joined in reverse position and terminating in a leaf-shaped bobeche with four prickets, the central one threaded at the base.  Outer edges of scrolls with double frill of continuous, pierced leaf ornament.
Design for a Frieze
, 1820–1830
Graphite, pen and ink, brush and wash on paper
Drawing

At center, a smoking brazier with handles. It is supported by festoons tied to torches.
Flying Angel and Other Figures
Mattia Preti, Italian, 1613 - 1699, 1661–66
Red chalk on paper
Drawing

Central figure with large wings reaching up with an object in its hand.  At bottom right a smaller sketch of a winged putto.
Vase de marbre blanc à Marly
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a marble vase from the gardens at Marly. The vase is decorated with a bearded mascaron and fluting with floral and acanthus leaf motifs. The foot features acanthus leaves, and a floral strapwork frieze. The description is lettered on either side of the foot, with a scale below the base. The plate is signed.
Sidewall
, ca. 1680
Leather, stamped, painted, silvered

Scrolling strapwork with foliage and flowers.
Counterproof Study of a Nude Woman
, early 17th century
Red crayon on rough brown paper
Drawing

Nude woman depicted from the rear with her left arm raised and her right forefinger pointing towards the left of the drawing.  Left leg is crossed behind the right, putting it in the foreground.
Portrait of Charles Le Brun (1619-1690)
Jacques Lubin, French, 1637 - 1695, 1696-1700
Engraving on paper
Print

Bust-length portrait. The body in side view facing right, the head turned to front. Lebrun wearing a wig and dressed in a loose robe, which leaves the lace collar of his shirt visible. In an oval frame with the coat-of-arms below. It stands on a moulding.
Toltec Gorge, Colorado
Thomas Moran, American, b. Britain, 1837–1926, ca. 1881
Brush and black, brown and blue ink washes, white gouache, graphite on buff wove paper Verso: Graphite with touches of brush and white gouache on tan wove paper
Drawing

At the bottom of two converging mountain chains, a gorge is bisected by a stream.
Verso: a horizontal view of mountain range beyond a double railway track; same site as recto, but from a different vantage point.
Playing card
, ca. 1855
Red and black ink, paper

At top: P 1 C; below central image: 4
Fishermen in the Rapids
Winslow Homer, American, 1836–1910, 1897
Crayon on paper
Drawing

Sketch of rapids, at the foot of which is a canoe paddled by two male figures, with a third fishing.
Sketch of a Tree, Catskill, New York
Frederic Edwin Church, American, 1826–1900, September 1844
Graphite on off-white wove paper; verso: graphite
Drawing

Botanical sketch showing a view of a single deciduous tree in Catskill, New York. Its upper portion is darker and more completely rendered, while its lower portion is loosely articulated. Its canopy is relatively thin.

Verso: Figure sketch of the face of a sleeping child in Catskill, New York--likely Thomas Cole's son, Theodore. The child has a peaceful expression as his collar rises around his chin.
Moses Shows the Tables of Law to the Israelites, after Perino del Vaga
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and dark brown wash on off white laid paper
Drawing

A hooded figure stands on a platform at right, holding a white tablet in the air. Before him, at left, is a large group of kneeling figures in robes.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Engraving on paper
Bound print

Title page for third book of designs for panels. Architectural arch at center, below which is an armored figure figure flanked by lions and trophies. Palms, trees, and fantastical landscape in background; a horse bucking at the peak of a waterfall at left. Above, trumpeting angels and putti surround an obelisk. A sun shines at upper right; additional angels and putti support the frame which contains the title inscription.
Spring day
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A woman who is accompanied by a man pauses to look back at a woman who appears to be calling her attention. In the background are people at the entrance of a shrine. The blooming cherry blossom highlights the base of the woman's kimono.
Full Moon over Mountains, Hudson, New York
Frederic Edwin Church, American, 1826–1900, March 1867
Graphite on gray wove paper
Drawing

Landscape sketch showing a view of the full moon in a partly cloudy sky over a mountain ridge in the Hudson River Valley. At upper left, the full moon hangs in the sky above a puffy cloud at left. A portion of a mountain range with two overlapping slopes is visible along the lower margin. A long bank of puffy clouds hangs just above the ridge.
Fragment
, early 18th century
silk, metallic thread, gold paint Technique: embroidered using satin, stem and couching stiches on satin weave; painted

Small fragment with a bouquet of multicolored flowers, leaves and buds tied with a ribbon. Satin weave ground is painted gold.
A Man in Meditation
Giovanni Vitalba, Italian, 1783 - 1792, ca. 1765–1785
Engraving in brown ink on white paper
Print

The man, with a large beard, faces frontally. His right elbow is on a table; he rests his head on his right palm.
Design for a Sofa
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered sofa with a carved frame featuring festoons of flowers, birds, scrolling acanthus leaves, and shells. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Design for a Monument with Allegories
, 1700
Pen and grey ink, brush and watercolor on paper
Drawing

Architectural screen with central arched bay flanked by rectangular panels extending forward and ornamented with columns and trophies above. In the center, a blank escutcheon surmounted by a royal crown and flanked by figures of classical warriors; above in a cloud three allegorical figures alluding to peace. In the tympanum of the central arch, a trophy of War, and the central bay is surmounted by a blank escutcheon surmounted by a royal crown and figures accompanying the implements of warfare.
Design for an Ewer
Jan Lutma, Dutch, ca. 1584 - 1669, 1630–60
Black and white chalk on beige laid paper
Drawing

Vertical rectangle showing a design for an ewer in the auricular style. A mermaid is intertwined with the dolphin's tail at the lower outside of the handle.  A dragon stands upon the spout.  Neptune is shown alone. A kneeling mermaid is at the shaft.
Tile
, late 18th–early 19th century
Earthenware, glazed and high fire decorated

Woman in yellow shirt and white shawl carrying a basket with greens on right arm.
The Lion and the Fox
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Left, profile of lion sitting at table with left paw by mouth. Bowl and wine bottle on table. Behind lion are skulls. Right, fox standing on hind legs, hands on door, with top hat in hand. Various footprints on the ground.
A Landscape
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850-1875
Graphite, brush and sepia wash on paper
Drawing

View of a lake which is bordered by mountains. Trees are at right.
Title Page
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Title page and six designs for trophies incorporating agricultural tools, shovel, ladder, rake, watering jug, scythe, baskets, horns, wheat, flowers, festoons of flowers and leaves, arms, a shield, axe, bow, animal pelt, sickle, oboe, bagpipe or musette, and a tambourine. The plate is titled and numbered.
Sketches for Portraits of William Amory and Thomas A. Scott
Daniel Huntington, American, 1816–1906, 1894
Graphite on paper; verso: graphite, white chalk
Drawing

At left, seated man, with head, legs, and right arm omitted; left arm leaning on arm of chair.  At right, left hand holding chair arm. Verso: Three sketches of a right hand holding a pencil.
Two Views of Judith and Holofernes
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1585 – 1605
Recto: pen and brown ink, brush and brown wash with black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto, left: Judith is shown looking toward the left, with her right arm raised above her head, sword in hand. With her left hand, she pulls Holofernes' hair to expose his neck. At right, the image is seen in reverse and from the opposite angle: Judith appears at right, with right arm raised.  
Verso: A semi-circular stone niche is built into a mountainside, allowing water to flow through.
Woman at her Toilette
Jean-Baptiste Pillement, French, 1728–1808, 1773
Etching on laid paper
Print

Plate from a series of chinoiserie scenes with figures in a landscape. Under a canopy of embroidered textiles, a woman in a western dress sits at a round table looking at herself in a mirror, at her toilette with small, lidded pots on the table, the mirror is supported by a small child. Two men dressed in chinoiserie style dress with swords peer through a hole in the canopy to look at the woman. The scene is in a landscape with trees, rocks, and foliage. The plate is signed and dated.
Lit à tombeau
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a canopy bed (view from the footboard) with the posts bending inwards to support a smaller crown canopy (baldachin) above, topped with feather finials. The bed curtains are drawn back and tied to the posts with ropes. The bed linen and textiles are decorated with flowers, cornucopia, and scrolling leaves (rinceaux). The headboard features a crown of flowers in the center. The plate is titled, numbered, and signed. A scale below.
Antique Female Statue
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and ink, brush and sepia wash over traces of graphite on cream paper
Drawing

Shown at oblique angel, turned left. Lowered left hand holds corner of dress. Lowered right hand holds paper roll.
Sugar bowl and lid
Wedgwood, English, established 1759, late 18th century
stoneware (Black Basalt)

Cylindrical, high domed lid with finial in the form of a draped female figure; basket-weave texture sides and lid.
Designs for Iron Railing and Balconies
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for an iron railing and two iron balconies decorated with ornament motifs including rosettes, bound leaf, shells, wave pattern, and branches. The plate is signed and numbered.
Design for the decoration of a panel
, 1760–1780
Black chalk, brush and grey and black watercolor on paper
Drawing

A quiver in front of two crossed arrows and surrounded by a wreath is suggested as a central motif between festoons, at right, flanked by rinceaux, at left. Rectilinear framing line surrounds. A measurement is written near the left edge.
Trophy Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Six designs for trophies incorporating leaves, flowers, head of a ram, scythe, bat wings, grapes, crown, pipes, tambourine, baskets, rifle, horn, arrows, birds, and arms and armor. The plate is signed and numbered.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, February 1898
Graphite on paper
Drawing

Sketch of a magazine cover with a seated male figure holding a wheel.
The Invention of the Compass
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1590 or before
Recto: pen and brown ink, brush and gray and brown wash, with black chalk on laid paper Verso: pen and brown ink on laid paper
Drawing

Recto: A scholar appears seated at a desk in a richly furnished study, using a compass. A low bowl stands in the right foreground, supported by four lion's feet. Over these, four human heads rise, identified as representing the quarters of the globe. A model of a ship hangs from the ceiling. Annotations in Italian throughout.
Verso: Dutch inscription.
Fragment
, early 17th century
silk Technique: uncut supplementary warp pile (velvet)

Fragment of chartreuse green uncut velvet on silk ground of same color. Intricate design of closely spaced, tiny flowering branches in varied forms alternating in direction.
Decorative panel
Jacquemart & Bénard, France, 1810
Block printed on handmade paper

Colonnette in blue, with rosette banding and composite capital in yellow.  Printed from woodblocks in blues and yellows, on field of neutral violet and pale blue. Vertical rectangle.
Button
, 1830–46
Cast pewter

On card E
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments including pediments, aedicules, niches, and cartouches. The plate at the upper left is the title page, with the title text printed on a plaque under a bust-topped pediment. The lower plate is numbered but neither are signed.
Study of a Man's Hand for "Tribute Money"
Daniel Huntington, American, 1816–1906, 1852
Graphite, white chalk on grey wove paper
Drawing

Study of a man's right hand holding a roll of paper.
Design for a Candlestick
Joseph Anton Seethaler II, German, 1799–1868, 1827–1835
Pen and ink, brush and wash on paper
Drawing

Two horn-shaped branches with sockets branch off from the top of a column standing upon a round pedestal. A bust of Athena tops the center.
Looking glass
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Looking glass.
Augustine, Ambrose, and Other Saints
Belisario Corenzio, Italian, active 1590–1646, early 17th century
Pen and brown ink, brush and gray wash, black chalk on cream laid paper
Drawing

Scene of The Annunciation. Figures of Saint Augustine, Ambrose (holding staffs) and other Saints standing within ornamental border.
Frame
Giuseppe Barberi, Italian, 1746–1809, ca. 1785
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

An oblong molded frame has in the middle on top and below panels. In the upper one are two circular medallions with structures. Above lie the keys and the tiara. From the keys hang a garland around the frame. In the panel below are two eight-pointed and two multi-pointed stars. Laterally are two medallions similar to those above. Colored background.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Above at left: a variation of 1938-88-1298 at right below. In front of the pedestal and of the mouldings of the base of the sarcophagus is the escutcheon with the crown. Beside are the draperies. The body of the sarcophagus is as in 1938-88-1295. Above is a pedestal with the standing figure as in 1938-88-1292, with weapons surrounding the base, left. Laterally below sit two female allegories. An architectural plan is overdrawn. Center: a crowned woman, carrying a mace and a shield with fleur-de-lis. 1, 2 sitting at the corner of the entablature of a sarcophagus. Above at right, in its lower left part not executed because of the figure in the center: the architectural setting is a variation of 1938-88-1298 right, below. The canopy hangs along the walls of the intercolumniation. In front of the upper part of the pedestal and of the foot of the tub-like sarcophagus are two putti supporting an escutcheon. Above is a pedestal with a kneeling statue and two below laterally sitting figures. Above at right are accounts, part of which is overdrawn by the last described project.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1790
Block printed on handmade paper

Repeating design of floral arabesques and scrolls, with pink and white roses, and fuchsias in a vase. Printed on a green ground. Vertical rectangle.
Square
, 3rd–4th century
warp: S-spun linen; wefts: S-spun linen, S-spun wool Technique: plain weave with discontinuous wefts (slit tapestry) with supplementary weft wrapping Label: linen and wool slit tapestry

Monochrome tapestry square with an all-over design of twists and knots in deep purple.
An Egyptian Sacrifice of a Virgin to the Nile
Federico Faruffini, Italian, active in France, 1833 - 1969, 1867
Etching on cream paper
Print

A large gathering of people witness a sacrifice on the edge of the river Nile.
Design for a Fantastical Landscape
Maurice Jacques, French, ca. 1712–1784, 1756
Etching and engraving on laid paper
Print

A design for a fantastical landscape from a suite of six. In the background, trees and an aqueduct in ruin and overgrown with foliage, with birds flying in the sky. In the foreground a carved ornamental garden structure with rocaille motifs, flowers, and foliage. On the end plinth, two winged putti, with a basket of flowers. The plate is numbered.
Composition Including Pagan and Christian Elements
Fortunato Duranti, Italian, 1787 - 1863, ca. 1825
Pen and bistre ink on paper
Drawing

Seated and standing on steps in the foreground are a group of four classical figures, three of them nude. Figure at right plays the lyre. Within the haze of clouds, in the background, are two figures with haloes.
Sketches for paintings. Obverse: A Roman officer holds a crucifix upon a heathen altar. Reverse: Christ rising
Pasqualino Marini, ca. 1700
Black crayon; Obverse: with pen ink, black watercolor wash on paper
Drawing

Obverse: A bearded Roman soldier points at the crucifix he holds with his left hand on an altar. People in adoration are shown at left. A man smashes an idol at right. Framing lines. Reverse: A slight horizontal sketch and the left edge is framed by a segment between straight lines
Fragment of a garment with embroidered inscription
, 908–932 AD
silk embroidery, linen foundation Technique: embroidered on plain weave

Natural linen ground with Arabic inscription embroidered in red silk. Translation: "In the name of God, the Merciful, the Compassionate. Praise be to God, Lord of the Worlds. Glory from God to the Caliph, Ja'far Allah (sic) al-Muqtador Billah."  
Elements of one set of the linen plain weave were removed to prepare the foundation for rows of back stitch using red silk. The serifs and tails are satin stitch using red silk.
Fragment
, 1850–99
silk Technique: machine made

Black lace with scattered flowers above narrow floral edge.