biglam/cooper-hewitt-alt-text huggingface dataset:
Spaccato della bottega ad uso di caffè detta degl'Inglesi situata in piazza di Spagna..., from Diverse Maniere d'adornare i cammini
Giovanni Battista Piranesi, Italian, 1720–1778, 1769
Etching on paper
Bound print

A compartmentalized scene with several figures. Above, two sphinxes flank central figures with hieroglyphs. Birds flying in the sky. Openings show view of Egyptian landscape of pyramids and other structures, Egyptian figures, and caryatids in profile. Many Egyptian symbols cover the wall.
Wall Fountain Elevation
Pellegrino Sabbatelli, Italian, 1792
Pen and brown ink, brush and gray and black wash, graphite on cream paper
Drawing

A wall fountain elevation composed of three parts. A central fountain is set between paired columns with a sculptured entablature. Niches flanked by panels bearing arms separate the central fountain from flanking basins with sculpture at the extremities. Below: ground plan of the structure.
Funffte Ausgab seiner vorhabenden werckes...Unterschiedliche Neuinventirte Verkleiden Zu Modernen und Astonmischen Perpendicul-Uhren...
Johann Jakob Schübler, German, 1689–1741, ca. 1720
Engraving on cream laid paper
Print

Plate 2. Design for a large, free standing case clock, with Gorgon head supported by two cornucopias on face and is surmounted by fasces and arrows. A helmet tops the piece. Clock is set to left, illuminated by a candle, and a window opens onto a terrace at right.
Border
, 1870–90

Aesthetic or Anglo-Japanesque design. Band of deep red flowers across center. Olive-green foliage above. Band of quatrefoils below. Printed in deep red, olive-green and tan on burgundy ground.
Fork from Traveling Cutlery Set
, ca. 1700
silver, steel, amber
fork

1985-103-136-a: Sharkskin case with silver cap at tapered end. Sil...;     1985-103-136-b: Knife with saber-shaped blade, rounded bolster, an...;     1985-103-136-c: Fork with two long pointed tines, curved shoulders...
Ceiling paper
Gledhill Wall Paper Co., New York, New York, founded 1900, 1905–1915
Machine-printed paper, liquid mica

On lavender ground, wreaths in white containing staggered singular purple flowers.
"Hans Sloane" Botanical Plate (One of Twelve)
Chelsea Porcelain Manufactory, English, 1745 – 1784, 1754–1758
soft paste porcelain, vitreous enamel
plate

A plate with a wavy, brown-edged rim, painted with a large flowering branch, a small sprig of blue morning glory, and insects.
Fragment
, 17th century
silk Technique: 5-harness satin damask

One rose-tan repeat of a symmetrical pattern (mirror image on the center line) of superimposed ogee trellis with leaves, fruit and acorns.
Landscape with a Cottage
Remigio Cantagallina, Italian, ca. 1582–1656, 1610–30
Pen and brown ink on cream laid paper
Drawing

A large tree in the left foreground stands at the edge of a field and stream, in which are cows and figures. Beyond, at the right, are additional trees and a thatched house, with other figures before it.
Oratory Chapel
Jane Ireland, British, 1794
Etching on paper
Print

A satire of a service in a chapel. At left a pastor in chancel. Numerous figures in chapel who seem to be talking. Several slogans on walls.
Map sampler
, late 18th century
silk embroidery on silk foundation Technique: embroidered in stem and satin stitches on warp faced plain weave

Oval map of England and Wales with each of the countries indicated. A floral of curving vines tied with a ribbon bow at the edge. The embroidery has all been done over a printed outline. The fabric is nailed to a wooden frame.
Sweetmeat glass
, ca. 1810
Glass

Everted double ogee bowl cut with flat flutes, blazes, a band of diamonds and a scalloped edge. Fluted stem with diamonds cut ring knop. Broad, circular domed foot has deep cut blazes in a swirl pattern. Pontil mark on bottom.
Borders
, 1794–1825
Block-printed on handmade paper

1972-42-13-a/d: NOTE: component A -  is made up of approx. 100 fra...;     1972-42-13-a/o: a) main pattern of this border consists of a band ...
matchsafe
, late 19th century
Porcelain

Figure of man with beard and right hand in pocket. Figure wears white dressing gown with orange trim and blue curvilinear pattern.
Album page

one sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso
Shawl
, 1840–1850
silk, cotton, wool Technique: 3/1 twill patterned by supplementary wefts (multicolor) bound on the front in 1/3 twill. Double interlocked tapestry weave. The floats of the supplementary wefts on the back were cut off after weaving in the finishing proess to reduce weight. The foundation weft is white wool in the center and brown cotton in both patterned ends. The warp was dyed orange for the areas which are densely patterned, but not for the white square in the middle. At both ends, sections of warp are dyed to intensify the colors of the tapestry woven bars and the fringe.

Paisley shawl with deep borders in shades of red, orange, blue, and white. Shawl ends have a row of tall paisleys with an inner border of small paisley motifs. White center field has small paisleys, scrolling bands and floral clusters.
Halle aux Draps, Plate 61 from "Vues Pittoresques des Princepaux Édifices de Paris"
Les Campion Frères, Paris, France, 1792
Engraving and brush and watercolors on paper
Print

Market Hall in the center of the street; vendors in front, and parasols. Title, artists' and publisher's names below.
Wall Decoration, Blue (South) Drawing Room, Royal Pavilion, Brighton
Frederick Crace, English, 1779–1859, 1820
Graphite on paper
Drawing

Design for wall decoration. The outline indications of a mantelpiece in the center, flanked by painted wall panels. At left, a painting of foliage and birds with narrow panels on each side of flowers. At right, a circular painting of fighting birds and dragons.
Sidewall
, 1840
Block-printed paper

Trompe l'oeil design of trophies consisting of a dead duck and pheasant hanging by ribbons from foliate scrolls; enclosed by four-lobed frames, which are, in turn, mounted on spotted rectangles with clipped corners. Printed in grisaille, heightened with brown.
Study of balusters and sculptural motifs
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Study of balusters and sculptural motifs
Sampler
Hellen Goodrich, American, 1806
silk embroidery on linen foundation Technique: embroidered in counted cross and star stitches on plain weave foundation

Many bands of alphabets and numerals separated by narrow geometric borders, with the inscription.
Cameo
, late 19th century
Paste

Bust of a woman wearing earrings and a necklace, facing left. Upright oval, white on black
Salver
, ca. 1800
copper, silver, tin
salver

Oval, with applied up-curved rim, beaded at edge; four strap feet each stamped with losenge motif; underside of tray tinned.
Frieze
, 1890–1920
Machine-printed

Stylized floral motif, with large-scale flower alternating with smaller floral motif. Printed in rust-color, green and browns on patterned background.
Design for Ceiling
Frederick Crace, English, 1779–1859, 1801 or earlier
Pen and black ink, brush and watercolor on white wove paper
Drawing

Horizontal rectangle. Painted sky ceiling with dove and flower garland center, gray borders right side, decorated borders at left.  Lined.
Pay-Day in the Army of the Potomac
Winslow Homer, American, 1836–1910, February 28, 1863
Wood engraving in black ink on paper
Print

The soldiers spending their pay, with three inserts showing them getting their pay, sending money home, and a family receiving it.
Snowberries
, October 8, 1832
Brush and watercolor, pen and ink on paper
Drawing

A branch of snow-berries, with two blossoms. One leaf is worm-eaten. Dated, in ink, lower right: "8th Oct. 1832".
Head covering
, early–mid-19th century
linen Technique: bobbin lace (late Valenciennes ground)

Diamond-shaped head covering in a late-style Valenciennes design of a rounded three-quarter view of a repeating flower for the border and small detached buds for the field.
Sidewall
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed oatmeal paper

Rows of rectangles and squares with repeated stylized motifs.  Brown, tan, and gold highlights on a brown background.
Cigar and Matches
Reeves and Sillcocks, ca. 1900
Silver, enamel
Matchsafe

Rectangular, with rounded corners, featuring raised scroll and bead ornament, beads frame asymmetrical, enameled, central reserve depicting a burning, brown cigar, beneath which are two wooden matches, one of which is burnt. Reverse features same raised ornament, central reserve inscribed AJM. Lid hinged on side. Striker in recessed groove on bottom.
Pages and Knights, Frontispiece for "The Man at Arms"
Edwin Howland Blashfield, American, 1848–1936, 1887
Brush and black, grey and white oil paint on illustration board
Drawing

At right a figure stands in full armor with his helmet up; his left hand is on his waist, and his right rests on the hilt of a sword. Another figure stands at left, leaning on a staff with a quiver of arrows hanging from his waist.  Both figures stand on a long arrow that spans the width of the board. The figures flank a shield, with charges of fleurs de Lille and  lions, and a banner bearing the motto: "Dieu et Mon Droit."   Above is a lunette with a figure of a youth sitting on a ledge.  He wears a patterned robe with cape.  Framing the lunette, are two roses on either side with vine and leaves.
Three Sketches of Women in Pireus
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

Three sketches of women. Top, sketch of woman from behind, hair in lower bun, facing right. Center right; portrait of bust of woman facing left, hair in lower bun. Bottom, sketch of women with long coat, facing left.
In the Dry Dock
Joseph Pennell, American, active England, 1857–1926, 1917
Lithograph on paper
Print

A warship is seen in dry dock.
Fragment
, early 18th century
silk Technique: satin weave

Fragment with vertical stripes of yellow and blue.
Trousers
, 18th–19th century
silk and metal embroidery on linen foundation Technique: embroidered on plain weave

Coarse linen trousers, embroidered in panels down side of leg. Design is of stylized flower head, open, flat, worked in red cross stitch edged with pink, and at four points the glower heads in profile worked in gold thread. Panel outlined in green silk; panels separated by a band of drawn thread whipped over in white silk.
Sketchbook Page: Self-Portrait
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Self-portrait of the artist with chin slightly raised, seen from below.
Border
, late 18th century
Technique: bobbin lace

Bobbin lace edge; late 18th century Maline
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed
Scenic

In sepia tones. Two figures with fishing poles on a stone jettee or wall.
Design for Lidded Jar
Noritake, Japan and New York, New York, USA, 1880–1910
Brush and watercolor, gold gouache, graphite on cream paper
Drawing

Lidded jar with slightly tapered body at the top; body decorated with dark purple blossoms against green leaves and some gold branches; with lid decorated in gold circles.
Abundantia Terrae
Kenyon Cox, American, 1856–1919, after 1908
Photostat
Print

Two panels. Above in floral pattern, a cartouche that reads: ABVNDANTIA / TERRAE. Below a female figure holding a cornucopia filled with fruits and seated on a smiling cow.
Decorative panel
, ca. 1850
Block-printed paper

Against blue-gray ground, realistically rendered as if viewed from below, low brown urn with gilt handles, filled and overflowing with pink and white peonies, muted green foliage, on shaded gray base.
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper, liquid mica

Series of scrolling acanthus leaf medallions filled with bouquets of roses and framed by a series of daisy-like flowers. A swag of roses runs across the bottom while a swag of acanthus-inspired lines runs across the top. Printed in gold, white, cream, and shades of brown and green.
Study for a the maenad, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Black, brown pastel crayon on tracing paper mounted on board
Drawing

Sketch of a male figure raising both arms. The toes of the left foot and the hands are not shown.
Cartouche Decorated with a Helmet and a Mask
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Cartouche design decorated with a helmet and a mask placed on a pedestal with an empty tablet. The plate is signed.
Piedestal arondi par les angles [et] Piedestal à pans coupés
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Two designs for pedestals decorated with egg and dart, acanthus leaves, faux script, garland, and rosettes. The plate is signed.
View of the Königssee, Bavaria (Germany), Part One
Frederic Edwin Church, American, 1826–1900, July 11, 1868
Graphite, brush and white gouache on blue wove paper
Drawing

1917-4-563-a: Portion of a panoramic landscape sketch with 1917-...;     1917-4-563-b: Portion of a panoramic landscape sketch with 1917-...
Designs After Architecture Fragments
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, portrait rondels, mascarons, cartouches, and tomb profiles. The plates are numbered but not signed.
Stage Design, Interior of Oriental Palace
Romolo Achille Liverani, Italian, 1809 - 1872, ca. 1846
Pen and black ink, brush and black and gray wash on laid paper
Drawing

Horizontal rectangle. Interior of palace richly decorated with draperies, fountain, tables, ornamented arches and vaulted ceiling.
Sketches, a Fountain
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

In the center is a circular pedestal with a square band around, above three steps. Above it is a calyx from which the water springs. Segments of bowls are projecting from the upper basin on each side; in that at the front are laterally two more calyces with springing water. The basin stands upon three steps. Nothing is indicated about the lower basin.
Wall Niche with Fountain
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

Interior design in Rococo style depicting a curved wall niche with a fountain. Surrounding the fountain are two pilaster panels, each depicting water fountain imagery in a different style. Scale at lower center.
Decoration of six panels
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Left row, above: a trophy of two shields and two other weapons. Center: a trophy of a helmet, a battle ax and a mace, with a wreath. Below: a trophy of a helmet, seen from the side, in front of a sword crossed by a hammer (?), and a wreath. Right how: above, a trophy of two shields and a sword. Center: a battle ax, crossed with fasces, surrounded by a wreath. Below: an eagle, supporting a wreath with its raised wings. Each panel has colored background and framing lines.
Face et Profil de la Menuiserie du Confident
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Frontal and profiled views of the carpentry design for the "Confidence" couch (1921-6-331-26). The plate is signed and numbered.
Saint Aegidius by the Wolfgangsee, St. Gilgen, Austria
Frederic Edwin Church, American, 1826–1900, August 8, 1868
Graphite on tane wove paper; verso; graphite
Drawing

Loose landscape sketch overlooking a view of the Church of Saint Aegidius on the shores of the Wolfgangsee in St. Gilgen, Austria. A hillside in the foreground slopes down to the church and the lake in the middle distance, while massive, rugged alpine mountains envelope the basin in the background.

Verso: Landscape and architecture sketch showing a view of a castle on the shores of the Wolfgangsee near St. Gilgen, Austria. At right, the precipitous slope of the nearby mountainside is visible, descending to the large castle with a rectilinear tower on the shoreline. The sheer mountainside ascends out of the frame at upper right. At upper left, a sketch of a bull's head is shown in profile, and possibly a small architectural detail is visible at lower left.
Sampler
, 16th century
silk, linen, and metal-wrapped silk on plain weave linen Technique; stitches using silk; satin, cross, running, chain, eyelet, stem, double running, long-armed cross, montenegrin cross. stitches using metal-wrapped silk; chain.

Sampler made of various embroidery patterns and stitches.
A Martyrdom
, 1760–1780
Pen and ink on blue paper
Drawing

A man hangs by his hands. Two men in front of him seem to remove his intestines, while two onlookers are in the background. On the back a sketch: its continuation is on the back of -1914. Black crayon: a bishop sits upon clouds, surrounded by monks. At the right part of a structure from which men seem to look on in front of it seemingly a kettle (too much is cut away to be precise).
Doorway Designs
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two prints printed next to one another. On the left, above the doorway, is a circular cartouche with a bucranium at top, with a grotesque, monstrous term (left) and a profile of a scroll (right); there is a scrolling iron work balcony above. On the right plate, the doorway is open, with the right side offering a view into a garden. The design of this doorway is split; on the left above the arch is a cartouche and garland, and at the top of the pediment, a sphinx; on the right above the arch is a lion mask and a garland. Both plates are signed and numbered.
Pleated fan
, ca. 1840
Paper leaf with gilded and hand-colored lithograph; carved bone sticks, mother-of-pearl guards

Fan leaf with gilded and hand-colored lithographs showing genre scenes in the style of François Boucher within an elaborate setting of foliage and gothic architecture. Bone sticks and mother-of-pearl guards are carved and gilded.
Design for a Vase
, 1730–1760
Red crayon on paper
Drawing

Elevation of a vase decorated with the heads of two river deities. Two garlands cross at the body. On frieze below, two mermaids with a dolphin. Vase stands on a cracked marble ground.
Brisé fan
, 1850–1860
Carved tortoiseshell sticks, silk ribbon (probably replacement), tortoiseshell washer and metal loop at the rivet

Brisé fan of tortoise shell with green silk ribbon. Blades mostly plain with three carved panels. Guards carved in high relief.
Border
, ca. 1850
Block-printed and flocked on embossed paper

Solid band of green flock, running lengthwise, flanked by gold stripes set with salmon lozenges. Printed in salmon, gold and green flock on embossed paper.
Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

An arabesque panel design featuring a flowering vase with frieze, gadrooning, and fluting surrounded by scrolling leaves, rosettes, seated female figures, a medallion with a profile portrait above, festoons, and a mascaron (mask). The plate is signed and numbered.
Stage Design, Entrance to Antique Hall
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and ink on paper
Drawing

Horizontal rectangle. Entrance to antique hall across stairs decorated with sculptures.
Men
Robert Frederick Blum, American, 1857–1903, 1883–1884
Graphite on wove paper
Drawing

Recto: Sketch of three male figures with shovels; Verso: Partial sketch of a male figure.
Textile
, 17th–18th century
silk, paper with applied gold foil Technique: plain compound satin

Orange satin ground with two rows of two large, round flowers in cream and green silk with silver gilt paper.
Projet de Porte d'Appartement fait pour Me. La Baronne de Bezenval.
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1738-1749
Etching and engraving on laid paper
Bound print

Elevation of the doorway between two rooms. The panels, doors, cornices, chairs feature rocaille ornamentation. The left door is open to the subsequent room, in which one can see a large mirror over a console table. The plate has been trimmed, and the lettering and plate number is not visible.
Corner Tower at Tourbillon Castle, Sion, Switzerland
Frederic Edwin Church, American, 1826–1900, August 25, 1868
Graphite on white wove paper; verso: graphite
drawing

Architectural sketch of the corner tower, or turret, of Tourbillon Castle in Sion, Switzerland. In middle distance, the round tower is prominently visible at center, situated atop a rugged prominence. The stony, stepped castle wall descends to the left away from the tower. In foreground, barren terrain is visible.

Verso: Architectural sketch of the upper portion of an elaborate home in Sion, Switzerland and its octagonal, pointed tower, visible at center. Two small chimneys visible at left. Two other buildings are shown behind the tower.
Decorated capital letters C and D
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving on paper
Print

Letter D before St. Denis, holding his head.
Textile
, 17th century
silk, linen, metallic Technique: two integrated structures; 2/1 twill with supplementary wefts plus 3/1 twill

Ogee lattice with checkered brackets in red and yellow.
Design for a Sarcophagi
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At left: the elevation of a bathtub sarcophagus supported by gaines with lion's feet which stand in front of the base. At right: the left side of an elevation. The sides are trapezoidal. On top of the cover is a tablet with an isncription between scrolls. Colored background, the upper parts of which are in -1399.
Design for a printed fabric
, 1750–1800
Graphite, brush and gouache on heavy laid paper
Drawing

Fantastic flowers, with petals done in picotage, rise vertically among stylized oak leaves.
Crouching Female Nude
James Wells Champney, American, 1843–1903, ca. 1890
Graphite on paper
Drawing

Vertically rectangular plate-mark enclosing an area of yellow matte coating. Crouching nude female figure, head bent over undefined object in left hand.
Sketches of Ships, Venice, Italy
Samuel Colman, American, 1832–1920, October 1872
Graphite on paper
Drawing

Sail boat, upper left, and a large sailing ship, shown obliquely from the bow, left. A sail boat with three men, upper right, and a sail boat with two masts, lower right. Upper right, vertically, a seascape with mountains. Verso: A two master with lowered sails. The top of the higher mast is shown beside. At right, vertically, the stern of a ship with a big rudder. The ship's name is VENEZIA.
POELE d’un genre absolument nouveau, propre à être place dans une orangerie, superbe serre chaude, ou dans un appartement d’été en hyver, réunissant l’avantage de multiplier les tuyaux à la chaleur qui monte à droite, passe au milieu des têtes des deux palmiers, descend à gauche, et par son circuit, augmente considérablement les émanations ignées, sans augmenter la consummation du combustible
Louis-Gustave Taraval, French, 1738 – 1794, ca. 1791
Etching on paper
Print

Design for a stove heater in the form of two palm trees in a large box planter. The palm trees are wrapped with festoons of flowers. The plate is signed.
Fragment
, ca. 1850
cotton Technique: printed

Fragment with a pattern of geometric forms and flowers in dark blue, red and yellow on a brown ground.
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Overall rectangular composition with central round panel wherein figures are sketched. Figures populate surrounding panels, in various geometric shapes, along with notional rinceaux, vegetal, or scrolling motifs.