biglam/cooper-hewitt-alt-text huggingface dataset:
Inkstand
Giuseppe Barberi, Italian, 1746–1809, ca. 1810
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Intended to be executed in silver.  Shown from above. The plan is in the upper right corner.  The scheme is that of a fountain with an oblong basin with circular, obliquely disposed bowls at the corners.  Three sitting griffins support each of the three bowls which the support the fountain.  In front of the straight central parts are a stream god lying upon a shell, at the back two wind gods sitting upon a shell and supporting a dial which stands between them.  A sketch above, at left, shows this motif.  Written above the figure, at left: "oleo cento"; at right: "Zefiro vento" "15" is written in ink, in the upper right corner of the frame, in opposite direction.  In each bowl is a cupid, upon a dolphin, from which water pours.  In the center is an ovoid base formed by three steps.  Above it four winged and armless mermaids.  Two dolphins with tails carry a bowl in which "venus" stands.  Below is a dark vase stripe.  The background is colored. Letters are written in the plan.  The captions begin below it: 
"Pianta di una scrivania da/farsi in Argento figurando una Fontana di cenere al Bagno."A" [both halves of the back of the lower basin] Bagnvola rota p[er] metere sigilli e cera/di Spagna "B" [the bowls at the front] piano figura/agva "C"[the bowl at the back, at left] sito per campanello 'the next word had been struc hout] "D" [the bowl at the back at right] ["bugia" had been struck out] Sito della bugia. "E" [in the shell at the front] sito o[ve]e/ untiratore capaco p[er] la grandezza/della carta da scrivere si tira/ via il fiume conchiglia [struck out: "ove sta il"]fiore e tiratore." Above, at left: below the sketch is written: "F" [in the shell at the back] sito ove la labra conchiglia litica/ la cochiglia e le due Figure che/regano lorologio e sticchia. "H"[both halves of the front of the lower basin] Il piano/sarra lavorato a Raeschi cisellati/ [ in the upper basin] siti lavorati in forma di acqua/vale a dire li quatro Siti e quello/sotto la bagnarola." "15" is written in ink, in the upper right corner of the frame, in opposite directions.
Study for Foot of Matthew in "Christiana and Her Children"
Daniel Huntington, American, 1816–1906, March 1850
Graphite, white chalk on grey wove paper
Drawing

Left foot in motion, center, with heel raised and weight on toes. Verso: Study of right foot.
Designs for Rocaille Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off white laid paper
Print

Four designs of rocaille motifs comprised of scrolls, rinceaux, batwings, and dripping verdure. The plate is signed and numbered.
Brisé fan
, 1840–60
Carved tortoise shell sticks, silk ribbon

Brisé fan of tortoise shell with gold silk ribbon. Sticks carved in low relief with an all-over design of small medallions. Guards elaborately carved in high relief with chinoiserie designs.
Palastre à Cul de Lampe.
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Lock casing design with a border of bead course and lamb tongue. Within the case is a rosette at left, framed in bead course, and a rosette at right within which is the key port. From the left side of the key-port rosette is a small ornament in the tradition of the cul-de-lampe. In the upper left of the plate is a profile view of the rosette. The plate is signed and numbered.
Woman
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of a female figure in profile wearing a headpiece.
Button
, late 18th century
Stoneware

1925-2-14: Circular medallion in the style of Wedgwood Jasper...
Title Page
François Boucher, French, 1703–1770, 1749–61
Etching on laid paper
Print

Title page for a series of allegorical designs representing the arts, featuring putti by F. Boucher. The print represents architecture. The title is lettered on a scroll of paper in the center of the plate, held by a winged putto, with another putto seated in the foreground looking at the title with his back to the viewer, holding paper in his left hand. The putti are seated in a landscape with measuring devices at their feet. Behind them, a plinth with the base of a fluted column in ruin. The plate is titled, signed, and numbered.
Earrings
, ca. 1880
Gold

1946-50-37-a,b: (A)Brooch with a bar surmounted by pointed ornamen...;     1946-50-38-a,b: a) Earrings in design of bar surmounted by pointed...
Design for an Oil Lamp
, ca. 1800
Graphite, brush and sepia on paper
Drawing

A burning lamp is shown in full length with the handle at right. A nude man kneels at right, holding a jar over the raised jet.
Mountains near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil paint and graphite on tan paperboard
drawing

Landscape sketches showing two views of the mountainous scenery around Berchtesgaden, Bavara, in present-day Germany. Spanning the upper half of the composition, a distant, pyramidal mountain is shown beyond a wooded hillside in the foreground, and rendered in a shade of light purple. Above, peach-colored clouds hang in an otherwise blue sky. In the lower right corner, a vignette showing a church with a tall, rounded steeple in the foreground and a rugged, snowy mountain range in the background, is loosely rendered.
Fragment
, late 16th century
silk Technique: cut and uncut supplementary warp pile (velvet) on twill ground

Fragment of salmon-colored twill with blue cut and uncut velvet in a symmetrical design of a highly conventionalized pomegranate. Small-scale pattern.
Design for a Table
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys and liturgical objects. Design for a table, with a marble top and ornate rococo-style legs and frame, featuring a roundel portrait, mascarons, acanthus leaves, shells, fronds, foliage and scrolls. A small freestanding vase on a footed socle under the table. The plate is signed and numbered.
Galerie métallique des grands hommes français (Great Men of France)
Arnould-Joseph Pingret, French, 1798 - 1830, 1820
Cast bronze
Medal

Bust of Jacques de Vaucanson (1709 -1782), to the right.
Design for a Daybed
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Design for an upholstered daybed with ornately sculpted frames featuring scrolling leaves, shells, festoons of flowers, festoons of laurel leaves, cartouches, and incense burners. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Title Page
Alexis Loir, French, 1640 - 1713, ca.1660–1703
Etching on paper
Print

Title page and three designs for gueridons (candlestands). The designs feature supporting male torsos, festoons, s-scrolls, lion torsos, gadrooning, fish scale pattern, scrolling acanthus leaves and a base with winged putto or cupids on dolphins with shell motifs. The plate is titled.
Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching on laid paper
Print

Five designs for heraldic achievements with blank central cartouches, or shields, supported by allegorical figures and military figures. Smaller individual angels and allegorical figures that can be used in the design of heraldic achievements are in outline in between the achievement designs. The plate is numbered.
Frieze with Dancing Children
, 1600–1625
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Six dancing children. At left, three playing musical instruments. Framing lines.
Niagara Falls at Night, Canada
Frederic Edwin Church, American, 1826–1900, 1851–1858
Oil on tan paperboard
Drawing

Landscape sketch showing a nocturnal view of the Horsefall Falls portion of Niagara Falls from the Canadian bank of the Niagara River. In the foreground, the nearby bank curves from left to right and into the middle distance, framing the tumultuous river pool below. In the middle distance at center, Horseshoe Falls sends up a towering plume of mist from the base of the cascade. Terrapin Tower is visible on the left side of the Falls, beside the heavily wooded Goat Island at far left. In the background, the Canadian Bank of the Niagara River forms the horizon. Above, a dark sky is faintly lit at left, indicating eastern light and, possibly, the rising sun.
CHARLES GILLOT DE LANGRES
Claude Gillot, French, 1673–1722, ca. 1738
Etching and engraving on laid paper
Bound print

Portrait of the Academician Claude Gillot, set within an oval medallion. This is the second state of the print with the Charles incorrectly printed instead of Claude. The name was corrected in the third and final state.
Group of Buildings
, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Group of buildings with bridge and towers. Fountain at left. Verso: sketch of groundplan.
The Penitent Man Choosing Good over Evil [left]; Spirit of the Penitent Man Ascending to Heaven [right]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1587–1595
Recto: pen and brown ink, brush and brown and black wash, over black chalk, with corrections by the artist in white opaque paint, on laid paper Verso: pen and brown ink over black chalk on laid paper
Drawing

Recto, left: A dying man lies in bed, surrounded by devils and angels. A priest stands at right. An explanatory inscription in Italian is below.
Recto, right: A newly deceased man lies in bed. Above his body, his soul ascends to heaven, lifted by angels. A monk holds a candle nearby, and mourners kneel and pray by the bedside. A view of the crucifixion appears in the background at left. An explanatory inscription in Italian is below.
Stage Design for the opera "L'Ultima giorno di Pompei," at La Scala, Milan, 1827
Romolo Achille Liverani, Italian, 1809 - 1872, early 19th century
Pen and black ink, brush and wash on off-white wove paper
Drawing

Horizontal rectangle. Porticoes around a temple building, in the background an erupting volcano.
Judith (Devotion, Courage), Playing Card from Set of "Cartes héroïques" or "Des grands hommes"
Eugène Moreau, French, active 19th c., 1871
Stencil-colored lithograph on paper
Playing card

Playing card from a set of "Cartes héroïques" or "Des grands hommes"
Border Design with Cross-Section
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Border design with bands of molding and its cross section at the right. From top to bottom, the molding ornamentation consists of: bead course, bound oak leaves and acorns, acanthus leaves, ribbon twist, lamb's tongue. The plate is signed and numbered.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

A krater shape vase with at least eight handles; the handles connect in pairs on the belly of the vase with acanthus leaf stamps. Acanthus leaf branches spiral up from the base of the vase in between the handles. The foot of the vase is fluted and scalloped. The vase is elevated on a low, simple, square based. The plate is lettered and numbered.
Suite de la Maison de Campagne de Mr. Piau et Conseil Négociants
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 and an elevation of the exterior. Both views include garden buildings and trees. The house features neoclassical motifs, with columns, friezes, and decorative paneling. The plate is titled, numbered, and signed.
Commerce and Another Allegorical Figure (Motif for Bank Note Design)
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on paper
Drawing

The figure of Commerce is shown from the front sitting upon clouds, holding a caduceus in her right hand. Another allegorical figure of a woman is shown in profile, kneeling at her feet.
Design for a Tureen
Johann Nepomuk, 1825-1835
Pen and brown ink, brush and watercolor
Drawing

The vessel rests on three eagles on a circular base decorated with leaves. The vessel is banded and decorated with stylized leaf forms and the handles terminate in lyres with the head of Apollo. The finial is made up of a pair of female sphinxes seated back to back.
Retrieval of Books from the Tomb of Numa, Sala di Numa Pompilius, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and brown wash over black chalk on white laid paper
Drawing

Civilian and soldier take books from two sarcophagi at left,while another officer reads book in center; groups of soldiers stand on either side in middle plane. Distant view of mountainous country with walled town.
Pine Shrub by Lake, Lakewood
Daniel Huntington, American, 1816–1906, May 17, 1880
Graphite on blue and red lined paper
Drawing

Study of the limbs of a broad pine, in the foreground, with lake at left, and mountain range in the distance, center.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of diagonal rose bands on a yellow ground; picot edges.
Sampler
M. W., 1743
silk embroidery, linen foundation Technique: cross and knot stitches on plain weave

Geometrical cross borders, alphabets, numerals above a panel partly filled with detached motifs including flowers, animals, people and the initials "M.W." in a wreath.
Four Balustrade Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Four wrought iron balustrade designs for balconies featuring geometric patterns and shapes, beads, c-scrolls, s-scrolls, fleurons, rosettes, and running pattern moldings. The plate is numbered.
Two Chair Designs
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Two designs for upholstered chairs with carved frames featuring flower and laurel leaf molding, shell, ribbons, festoons of flowers, a mascaron (mask), and fluting. The plate is signed with the printmaker, publisher, and original designer, and numbered.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Pen and ink on paper
Drawing

Sketch of shoreline, including basilica Santa Maria della Salute, from across the Grand canal in Venice.
Prospectus Castelli Versaliensis, at latus hortense ex adverso Sacelli (View of the Palace of Versailles, from the Gardens opposite the Chapel)
Georg Balthasar Probst, German, 1732 - 1801, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of the Palace of Versailles, viewed from the gardens. The palace extends horizontally across the middle of the print, with cut-out windows and fabric visible through the openings. The gardens are filled with figures in fanciful dress, colored in red, green, and yellow. A blue sky fills the top margin, and a tall conic tree alongside pedestaled statue are seen at right.

Verso: Patches of colored and patterned fabrics. Print label: Prospectus Castelli Versaliensis, at latus hortense ex adverso Sacelli. / Vüe du Chateau de Versailles, du côté de la Terrasse vis a vis la Chappélle. / Prospetto del Castello du Versaglie della parte di Terreno dirimpetto della Capella. / Gesicht des Schloßes zu Vesailien, von Seiten des Gartens der Capelle gegen über. / Med: Folo. No. 21. / G.G. Winckler Sculpts. / Georg Balthasar Probst, excud. A.V.
Cavalry Soldier with Sword on Horseback
Winslow Homer, American, 1836–1910, 1863
Black chalk on tan wove paper [darkened], lined
Drawing

Vertical study of soldier on horseback [horse is just suggested], with a sword in the hand of his upraised right arm and the reigns in his left and.
Floral and Rocaille Ornament Design
Gabriel Huquier, French, 1695–1772, 1738–49
Etching on laid paper
Bound print

Second plate from a series of twelve designs for rococo ornament by Huquier. The design is made up of flowers, c-scrolls, branches with leaves and flowers, fleurons, ovals, with a scale-like pattern and horn-like elements. The plate is trimmed and pasted onto the album page. It is signed, and numbered.
Arabesque Ornament Designs
Claude Gillot, French, 1673–1722, 1749–61
Etching on laid paper
Print

Sixth 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, architectural details, shells, vases and baskets of flowers, incense burners, putti, female figures, dolphin, drapery, netting, rosettes, and diaper and trellis patterns. The plate is numbered and signed.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

View of a quarter of a vaulted ceiling with ornamental panel and cartouche decorations along the borders. A scene with two putti figures draped beneath fabric, sitting beneath a tree at lower left. Blank elongated panels within curving frames at each side. In the curved spaces between, partial views of landscapes with architectural ruins.
Sampler
Tomasa Ferro, 1822
silk embroidery, linen foundation Technique: eyelet, needle lace, cross and running stitches on plain weave

Detached motifs including landscapes and floral forms with the letters W.S.Y and a band of eyelets.  Edged with needlepoint lace stitches.
Cartouche with Chained Figure
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on laid paper
Bound print

Blank cartouche framed by eagle, flag, dragon, fantastic plants, chains, chained figure, drums.
Textile
Gayet et Montgirod, 1760 – 1761, 1760–61
linen warp, cotton weft Technique: printed by engraved copper plate using a mordant for madder on plain weave

Peacock, parrot, and magpie with foliage and flowers, printed in red on white.
Napkin
, 1730s
linen, cotton embroidery Technique: 4&1 satin damask

White damask napkin has a vertically symmetrical design of a flowering tree in a 1730s style. Border has scrolling cartouches filled with a diaper pattern. Bouquets of flowers are in each corner.
Textile
, 18th century
silk, cotton, metallic yarns Technique: supplementary warp pile (velvet) with two sets of supplementary warps (red and blue) in a five-harness satin foundation, with discontinuous supplementary wefts patterning (brocaded) bound in 1/4 twill Label: silk velvet with metallic brocade

Fragment of velvet with rows of offset circles in creamy off-white on a deep red velvet pile ground. Each circle contains a medallion near its base, encircled by flowering hyacinth branches. Each medallion contains a pearl near its base, encircled by a carnation and tulip on a vine. Trefoil patterns in the interstices. A border at the bottom shows carnations (upside down) enclosed in shield-shaped tabs. In red, off-white and gold with touches of pale green.
Textile
, ca. 1780
cotton Technique: printed by engraved plate on plain weave

Red and white chinoiserie-themed toile with small vignettes showing a fishing scene, a standing figure playing a horn before dancing children, and other figures standing near vaguely temple-like buildings with spiky vegetation. Designs likely inspired by Pillement.
Panels
, 1915–1920
silk Technique: printed on cut supplementary warp pile (velvet)

Two identical panels of printed velvet with pre-Columbian Peruvian motifs - a bird and a stepped fret - in two vertical columns bordered on two side, center and bottom edges by a narrow band comprised of six repeating geometrical motifs. Possibly used as a dress or tunic fabric.
Scarf
, 19th century
cotton, metallic thread Technique: embroidered

Narrow scarf of cream muslin with sides embroidered in silver thread in a design showing detached group of flowers.
Design for a Mass-Operational House Designed by Hector Guimard, Staircase Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of the staircase.
Design for a Mass-Operational House Designed by Hector, Storage Space Staircase Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the staircase for the storage space.
Woman with a Baby Praying Before the Cross Marking the Place Where Her Husband was Killed
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

Similar to plate 40, loc. cit.
The Battle of Constantine
Pietro Aquila, Italian, d. 1692, ca. 1680-1700
Engraving on paper
Print

One of four vertical plates, together making a horizontal composition. Raphael's Battle of Constantine, in the Vatican, conceived as a tapestry.
Trimming
, 18th century
silk, metallic Technique: woven

Silver trimming with scalloped edges.
Textile
, 1850–99
cotton Technique: block printed on roller printed plain weave, glazed

Glazed chintz with large bunches of naturalistic flowers and berries, block printed  on roller-printed moire ground in two shades of pale tan; once white. Flowers in shades of rose, blue, and green drab. Lined with plain cotton and bound with green ribbon - part of chair upholstery. Glazed.
Portrait of Isabel Erskine, Countess of Mar
Edward Harding, British, 1755 - 1840, 1798
Stipple engraving on paper
Print

In an oval enframement is the half length portrait of Isabel Erskine, Countess of Mar (late 16th century to early 17th century), facing frontally and wearing a large lace ruff and ribbons in her hair. Inscription below, and publisher's name.
Floral field and border
, 1780–1815
White on glazed paper
Drawing

Vertical rectangle. Daisy and periwinkle-like blossom with fern-like leaves.
Handkerchief
, late 19th century
silk Technique: printed on plain weave

Souvenir handkerchief showing six vignettes from Seville including the Cathedral, La Giralda, a flamenco performance, livestock, and a row of marquee tents. Made for the Seville April Fair. Includes the text: "Ferias y Fiestas" and "Recuerdo de Sevilla."
Commode
, ca. 1755 (case) with later mounts
Wood

Wood commode with marble top ( component C).
Trimming
, 17th century
silk Technique: cut, uncut and voided velvet

Design of flowers and leaves on a curving stem set between rope borders. In blue, yellow, green and white.
Study of Feet
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on cream paper
Drawing

Left and right feet and ankles.  Upper left, a list of symbols and their significance. Symbols include: triangle, star, 3 circles, eternity, anchor, dove, tomb, fish, sword, flaming heart.
Pavilion, Elevation
, 1798
Pen and black ink, gray wash, traces of graphite, ruled border in pen and brown Support: white laid paper
Drawing

Two flights of stairs lead up to an arch; laterally, panels with window opening over door opening; balustrade topped by four statues on top. (RB '45)
Page Five from "Premier Livre De Differents morceaux A l'Usage de tous ceux qui s'appliquent aux beuax Arts Inventé Par G.M. Oppenort Architecte du Roy Et Gravé par Huquier," Serie A (Moyen Oppenord)
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

A decorative slab, upright, decorated with a vase surmounted by a duckling; flanked by two putti. Inscribed, upper left: "5"; upper right: "A"; lower left: "Oppenort in." center: "Avec privilege du Roy"; lower right: "Huquier sculp. et ex".
The Forge
James McNeill Whistler, American, 1834–1903, 1861
Drypoint on white laid paper
Print

In a roughly sketched interior, the smitty stands between an anvil and a furnace at left. Behind him two men stand. Additional figures, including children occupy the space to the right.
Peep-show, 21e Vue d/Optique Representant Prospectus Purfleet ad Tamesim in Comitatu Essex/Le Purfleet Sur la Tamise Dans le Comté d'Essex
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Textile
, late 19th century
cotton Technique: printed

Fragment of printed cotton in an allover design of flowers, birds and trees. Colors are red, blue and yellow.