biglam/cooper-hewitt-alt-text huggingface dataset:
November and December
Hans Sebald Beham, German, 1500–1550, 1546
Engraving on off-white laid paper
Print

6 in a series of 10 plates
Portrait of Nicolaus Zoesius, Bishop of Sylva
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beard and beretta. Below, his escutcheon and motto, and inscription.
Trade card of Louis Roupert, master goldsmith of Metz
Louis Cossin, French, 1627 - 1704, 1680
engraving on paper
Print

Horizontal rectangle. Half length portrait of the goldsmith, Louis Roupert ( - ) shown holding an ornament drawing. On a table beside him are his tools and a vase containing ornamental leaves.
Textile
, 18th century
silk, metallic Technique: complementary wefts 1/3 twill, silver weft is continuous and the multicolor silk wefts are discontinuous

Rows of isolated flowering plant motifs in light pink, yellow-green and light blue with stems curving left or right in alternate rows on a silver background. The textile was stamped or incised in a fine, large-scale, chevron pattern.
Henri IV of France Receiving Homage
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, 1795
Engraving on paper
Print

In a vaulted chamber, a knight in long cloak kneels before Henri IV, King of France (1553-1610), who stands beside a table. At top, a remarque showing the head of a woman holding a child to her breast.
Band
, 18th century
satin, silk, metallic threads Technique: embroidered, couched

Dark blue satin embroidered and couched with stylized rolling wave design with curling crests; dots, grouped pearls (?), within the waves. In greens, blues, and white, outlined and accented with gold. Lined with salmon pink satin now faded. Five satin button-loops on each band and five small round hollow brass buttons.
Table cover
, 18th century
linen Technique: withdrawn element work with embroidery and deflected element work

Oblong table cover with a border design in simple, geometric pattern. Trimmed with narrow pointed lace.
Fragments
, ca. 1840
cotton Technique: printed on plain weave

Fragments of red on a white ground in a design of flowers and foliage; massive stone castle; girl with a watering can; and small dock jutting into a stream.
Square
, 4th–5th century
linen warp, linen and wool wefts Technique: plain weave with discontinuous wefts (tapestry); open slits, supplementary weft wrapping Label: Linen, wool tapestry weave

Square of purple tapestry cut from its linen foundation. Geometric pattern based on interlocking circles.
Border
, ca. 1880
cotton thread, linen foundation cloth Technique: tatting (knotting with a shuttle)

Border of tatting in wheel design sewn to linen cloth.
Cover
, 6th–9th century
linen, wool Technique: continuous and discontinuous supplementary wefts in a plain weave foundation

Natural linen square with patterned panel using wool filing most of it: diamond lattice enclosing geometric flowers. A small square covers the intersection of crossed diagonal lines. Narrow geometric border on 4 sides. Remains of rope tied to two corners.  (MS '77)
Fragment
, 16th–early 17th century
silk Technique: cut and uncut, voided supplementary warp pile (velvet)

Three fragments of cut and uncut silk velvet in small scale stylized patterns.
sheath
, 1868–1911
Tetsu

Period: Meiji. Surface: Migaki. Shape: Nade kaku. Hitsu: Nu; Seppadai: Migaki; Mimi: Suki no koshi.
Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, late 18th century
hard paste porcelain, vitreous enamel, gold
saucer

1936-13-16-a,b: A porcelain cup and saucer with floral pattern in ...;     1938-57-489-a,b: A porcelain cup and saucer with floral swags and g...;     1942-25-21-a,b: A porcelain cup and saucer with floral pattern in ...;     1953-17-108-a: Cylindrical cup with small strap handle. Thick, un...;     1953-17-20: A porcelain cup with floral pattern in gilding. An...;     1953-17-72-a,b: A porcelain cup and saucer with floral pattern in ...;     1992-5-41-a,b: Vienna coffee can / cup and saucer50
Cloth with inventory stamp
, 18th century
bast fiber Technique: plain weave with stamp on it

Fragment of a lining fabric. inventory stamp showing a crowned oval. interior of oval may contain a side view portrait. there is undecipherable writing around the edge of the oval.
Dish (One of Four)
Sèvres Porcelain Manufactory, French, established 1756, ca. 1768
soft paste porcelain, vitreous enamel, gold
dish

Round with four quadrant protrusions in sides. Decorated with floral sprays. Slim blue band on inside edge. Top edge gilded.
Album of Prints: First and Second Suite of Vases Designed by Duplessis Fils
Jean Claude Thomas Duplessis, French, 1730-1783, 1775-1780
Album

Album containing two suites of vases designed by Jean Claude Thomas Duplessis (called Duplessis fils). The second suite of vases is missing one plate.
Design for Corner Cabinet in Mahogany and Inlay, Plan and Elevation
A.N. Davenport Co., 1900–05
Pen and black ink on thin cream paper
Drawing

Elevation: tall cabinet raised on 3 straight tapering legs; closed cupboard with inlaid patera medallion topped by tall cupboard  with glass doors.  Plan: triangular shape of cabinet shown; slightly slanted corners.
Album of Prints: First and Second Series of Prints Designed and Engraved by Percenet
L.N. Percenet, French, born 1736, 1761-1762
Album

Album containing the First and Second Series of Prints Designed and Engraved by Percenet. Each series contains seven plates.
Venetian
Reed & Barton, American, 1824–2015, ca. 1880–85
silver plated, metal
spoon

A serving spoon with oval bowl with undulating wavy edge and finished with hammered surface. At base of bowl, stippled spiral pattern covers neck. Undulating curving handle, tapering towards tail-shaped terminal curling upwards against left side. Surface of handle finished with wood grain texture, interuppted with same stippled spiral pattern seen on neck. Reverse side of stem and handle plain in surface decoration.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache on paper mounted tan illustration board
Drawing

Design in green and yellow vines, C-scrolls, with central oval medallion in gray and blue.
The Antikamnia Calendar, May and June, 1898: A "Century" Maid
Louis Crusius, American, 1862 - 1898, 1897
Chromolithograph on paper with string binding
Calendar

May and June, 1898.
Textile
, 1795–1810
cotton Technique: block printed on plain weave

Design of a well in offset repeat. Reserved white on red.
Valance
, late 18th century
cotton Technique: block printed on plain weave

Shaped valance. Design of curving stripes with five-petaled flowers in the field. Red and black on white. Three seams across the width of the valance.
Figures Overlooking Bay and Small Boat, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881–82
Charcoal on heavy off-white wove paper
Drawing

Horizontal view of groups of figures gathered at a railing overlooking a bay and a small boat; a small strip of land with the ruins of the Tynemouth Priory, in background.
Banks of the Jordan
Daniel Huntington, American, 1816–1906, ca. 1878
Graphite on paper
Drawing

Water, center, curving around a low bank, with high, steep cliffs beyond. Figures faintly outlined in foreground and at edge of water.
St. John Writing the Revelation in Ecstasy
, late 18th century
Black crayon, white heightening, and one stroke of red crayon on colored green paper
Drawing

The apostle is depicted as an old, bearded man with his eyes closed in three-quarter profile.  In his right hand, he raises a pen and and beyond him sits an open-mouthed eagle while the book is to his left.
Architectural Interior
Giovanni Paolo Gaspari, 1714 – 1775, 18th century
Etching and engraving on off-white laid paper
Print

Scene of an interior of a wooden and stone space.
spoon
Francois-Julien Doyen, mid-19th century
silver

Pointed oval bowl, twisted stem, circular crusher terminal.
Design for a Decorative Ewer
Jean-Charles Delafosse, French, 1734 – 1789, 1765
Pen and black ink, brush and gray wash on paper
Drawing

The image of the ewer takes up the entire sheet.  The ewer's decoration includes a half figure of a woman and a child positioned on the lower part of the handle, left, and a satyr and a woman on the rim.  Its entire surface is covered with floral and vegetal motifs.
Fragment
, 17th century
silk Technique: 4&1 satin damask

pattern of leaves and acorns in two shades of green
Designs of Carriage Parts
Jean-François Chopard, French, active 18th century, ca. 1750
Engraving on paper
Bound print

Plate 13, Folio 13 of a series of 13 prints of designs for carriages or coaches. Variety of carriage parts in plan view with accompanying captions.
Lake Cuitzeo, Mexico
Frederic Edwin Church, American, 1826–1900, February 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape sketch showing of a view of Lake Cuitzeo in Mexico and its surroundings. In the foreground, loosely rendered plants and a tree are visible at lower center and lower right. The flat surface of the lake extends across the middle distance, until it encounters the opposite shoreline. Rugged mountain ranges with pointed peaks extend across the horizon in the background. Two wispy clouds are loosely rendered above.

Verso: Landscape and architecture sketch showing a view of Popocatépetl and a church in Ozumba de Alzate in Mexico. A sketch of the immense stratovolcano Popocatépetl is completed dominates the upper portion of the composition and is completed in some detail. It's sharp, conical peak is joined by a smaller, subsidiary peak at left. In the lower left corner and oriented to the left, the facade and belltower of a church--likely the Parroquia Inmaculada Concepción de Ozumba--are loosely rendered.
Leaf for an ornament suite of arabesques
, ca. 1730
Black ink on paper
Print

Design for ornamental leaf arabesques
Design for a Parure with Rubies and Pearls
, Possibly 19th century
Pen and black ink, brush and red gouache, gold paint, graphite on off-white wove paper, laid down
Drawing

Earring, pendant necklace, and bracelet arranged vertically on page. Necklace composed of ruby-colored spheres which are either encircled by smaller spheres in white or linked to a suspended pear-shaped ruby surrounded by small pearls. For bracelet, a string of round rubies encircled by small white pearls. Clasp at right. Earring: A pear-shape red ruby hangs from red sphere at top of page.
Trimming
, 19th century
silk Technique: woven

Lavender, blue, white, yellow and green trimming fragment in an incomplete design showing flowers, leaves and scrolls.
Four Designs for Moldings
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. Four designs for decorative relief moldings, featuring acanthus leaf ornament, strapwork, fleurons and flowers. The four designs are horizontal on the page, with a progression from the simplist design on the top to the most intricate at the bottom. The plate is signed and dated.
Dress trimming
, 19th century
silk Technique: woven

Woven heading with a cord forming scallops on one edge and ornaments of colored silks knotted and fringed on the other.
Cassolettes
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a tripod censer decorated in an antique style with fluting, acanthus leaf, guilloche with rosettes, floral garlands, pinecones, scroll legs with hoof feet, fluting, and lamb tongue. The plate is signed.
Portrait of Sarah Cooper Hewitt in French Costume
J. Carroll Beckwith, American, 1852–1917, 1899
Pastel on paper mounted on linen
Drawing

1938-57-890: Three quarter portrait of a woman wearing a black ...;     s-e-3472: Drawing of Sarah Cooper Hewitt in a French costume...
Sunset over Distant Mountains
Frederic Edwin Church, American, 1826–1900, 1860 - 1880
Graphite on blue wove paper
Drawing

Landscape sketch showing a loosely rendered view of a vibrant sunset over dark, distant mountains--likely the Catskills viewed from Church's property near Hudson, New York. Puffy clouds hang in the sky at upper left while radiating sunbeams are visible above the mountain ridge at center. Nearby physicaly features--a sloping hill or possibly the bank of a river--are visible in the lower portion.
The Salutation
Charles Nicolas Ransonnette, French, 1793 - 1877, 1830–1840
Graphite, brush and brown watercolor on paper
Drawing

The corner of a park terrace is at right, whose will rises from a ditch. A road wings around its foot. A man stands on it looking at or speaking with a woman upon the terrace. He holds his hand in his left hand.
Ornament and Panel Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Two plates of vertical ornament designs featuring arabesques and grotesques motifs printed on a single page. Plate 2 includes the title of the suite of prints and the address. The designs feature mythological creatures, animals, trophies, globes, cartouches, owls, cornucopias, strapwork, terminal figures, scrolling foliage, rosettes, acanthus leaves, c-scrolls, and fleurons. The two outer designs are running patterns featuring scrolling foliage, c-scrolls, fleurs-de-lys, and fleurons. The plates are numbered.
Five Circular Representations of Young Women
Fortunato Duranti, Italian, 1787 - 1863, ca. 1818
Graphite on paper
Drawing

Left row: Above, half-figure of a standing young woman, turned toward the right, with the head turned toward her right shoulder. She hold something with her right hand in front of the breast. Below, three-quarter figure of a young woman, sitting turned toward the left, with the head turned toward her left shoulder. She leans her left hand upon a book and carries in the right a fan. Behind is another, sitting turned toward right, with her head turned toward her right shoulder. Framed by an oval line. Below at right, half-figure of a young woman, sitting, raising her shawl with her right hand.
Border
, ca. 1860
Block printed on paper

Cream field, with two bands of green cable pattern.
Caius Marius in Prison
Giorgio Ghisi, 1520 - 1582, 1560–1569
Engraving on laid paper
Print

Caius Marius seated, at right, with one hand clutching his chest, the other extended toward two Cimbrian soldiers entering his cell. A window at center shows some classical ruins outside, with light streaming through clouds in the direction of Caius Marius. A small tablet at lower left bears the signature  'POLI. / IN. / .G. MAF'
LE CHATEAU DE VERSAILLES
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the palace of Versailles from above with the palace in the center and surrounding buildings, inner and outer courtyard with gates. In the background the gardens, basins, fountains, and trees. Figures and horse-drawn carriages throughout. Details are lettered with an explanatory legend below. The plate is titled.
Ornament Escutcheon Design
Hugues Brisville, French, active ca. 1663, 1662
Engraving on laid paper
Print

Vertical rectangle showing an escutcheon surrounded by scrollwork. Perched above is a bird with fruits and masks. Above, symmetrical arabesques with greenmen.
St. Peter's Basilica and the Vatican Palace, Rome, Italy
Frederic Edwin Church, American, 1826–1900, March 18, 1869
Graphite on tan wove paper
Drawing

Architecture sketch showing a view of St. Peter's Basilica and the Vatican Palace viewed from the banks for Tiber in Rome, northwest of the buildings. The basilica's immense dome is shown at center left, while its facade statues are visible beside it at left. A long wing of the Vatican Palace extends towards a hill at right.
CADIZ, Obispado y celebre Puerto de mae en Espana (Cadiz, bishopric and famous seaport in Spain)
, mid-18th century
Pen and black ink on paper
Print

Drawing of a map of the city of Cadiz depicting the town and city walls, a habor with ships, and mountains in the background, rendered to resemble a print. Key and title are written in hand at the bottom of the sheet.
Sampler
Elizabeth Miskey, American, b. 1811, 1822
silk and wool embroidery on linen foundation Technique: embroidered in chain, stem, rococo and cross stitches on plain weave foundation

A large basket of fruit surrounded by flowering sprays, and a verse: 
THE TEAR OF SYMPATHY
No radiant pearl which crested fortune wears
No gem that sparkling hangs from beauties ears
Not the bright stars which night's blue arch adorn
Not rising sun that gild the vernal morn
Shines with such lustre as the tear that breaks
For others woe down virtues lovely cheeks

Inscribed: Respectfully presented to Anthony and Elizabeth Miskey by their affectionate daughter Elizabeth Miskey done in her 12th year Philadelphia April 25th 1822

Surrounded by a floral border.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880–1881
Graphite on wove paper
Drawing

Partial sketch of figures along a canal in Venice.
Détails des differents Monuments projetée et executée à Soisy sous Etiole dans le Parc de Mr. Davelouis par Dubois ainé Architecte Eleve et 1er neveu de feu Antoine Architecte des Monnoies de France
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

Architectural details for different monuments and buildings with Egyptian style motifs, hieroglyphs, telamon (atlantids), pediments, entablatures, and an obelisk. The plate is titled, numbered, and signed.
Gnarled Dead Tree
Frederic Edwin Church, American, 1826–1900, 1851–52
Graphite on tan wove paper; verso: graphite
Drawing

Botanical sketch showing a view of a gnarled, dead tree, likely on Grand Manan Island in Canada. Dominating the composition, the tree is situated diagonally, from lower left to upper right. One of its primary boughs turns in the opposite direction at upper center and twists downward. In the background at left, an upright evergreen tree is loosely sketched.

Verso: Botanical and figure sketches of a gnarled and dead tree, likely on Grand Manan Island in Canada, and two caricature heads. Situated diagonally along the composition's vertical axis, the tree has several twisting and pointed branches. At upper left, two caricature heads are include. The uppermost one is a head in profile, with large lips and nose, and bushy eyebrows. The other face below it--shown frontally--has an exaggerated, almost grotesque expression of anger. His heavily furrowed forehead emphasizes his furious, downward eyebrows that partially cover snake-like eyes. His cheeks, mouth, and jaw are downturned in an emphasized manner, and somewhat large ears stick out from a mostly bald head topped with a small tuft of hair.
Skirt panel
, 18th century
cotton; gold leaf on wax or gum base Technique: mordant painted and dyed with resist (chintz) on tabby weave

Wedge-shaped piece of fine firm cotton cloth with medium-scale design of stylized flower heads on top of  grace-fully curving cornucopia forms decorated with graduated dots and a little sprig of blue berries. These forms are planned to curve left in one horizontal row and right in the next, and a serpentine band of the same reddish brown as the cornucopias underlays each vertical row so that an ogival ground plan accented with flower-heads is suggested. Shades of rose-red, blue, yellow and green (blue over yellow), violet; black and red outlines; gold leaf on wax or gum base outlining major parts of design. Lined with plain white silk.

Z-spun cotton, 100-110 warps per inch. 1/8" selvages with coarser warps. No complete breadth.
Band
, 19th century
silk embroidery on silk foundation Technique: embroidered in satin stitch on gauze weave

Purple silk gauze embroidered in white silk in design of confronted birds and flowers. Two upper and one lower border.
Inscriptions from Mexico
Frederic Edwin Church, American, 1826–1900, December 17, 1883
Graphite on light green wove paper; verso: graphite
Drawing

Inscriptions including lists of place, people, and animal names. See "Inscription(s)."

Verso: Mixed sketches from Mexico showing views of a man on horseback with a wide-brimmed hat, shown from behind at center, and two loose sketches of a feline decoration on a fountain that spews water from its mouth.
Great Basin, Mount Katahdin, Maine
Frederic Edwin Church, American, 1826–1900, 1877
Oil and graphite on paperboard
Drawing

Landscape study showing a view of Chimney Pond and the Great Basin of Mount Katahdin in Maine. In the foreground, the surface of the pond extends into the middle distance, where it encounters the heavily wooded opposite shoreline, which ascends slightly to the right. Behind, the sheer, rugged eastern mountainside of Katahdin dominates the scene, with its three overlapping washes at left and shadowy precipices throughout. Above, the mountain's rocky ridge creates a jagged contour near the upper margin, where a sliver of blue sky is also visible.
Vision During a Mass
Belisario Corenzio, Italian, active 1590–1646, ca. 1630
Brush and gray, white, and light blue gouache on brown laid paper, lined
Drawing

Worshippers kneel at the steps of the altar. The priest officiating the mass, his back turned to the congregation is looking up in rapture, hands raised in amazement, to a vision of God the Father high on a cloud, upheld by angels, overlooking the Mass below, while the Dove of the Holy Spirit shines the light upon the Scriptures proferred by angels.
Title Page
Philippe, I Caffieri, French, 1634 – 1716, 1670–1700
Etching on laid paper
Print

Title page for a series of ornamental panel and frieze designs. The title is lettered in the center framed by scrolling acanthus leaves, and putti terminal figures, topped with a French royal crown with fleurs-de-lys, with surrounding foliate branches, sunflowers, cornucopia with fruit, and a globe with festoons of leaves.
Decorative Panel Designs
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Design for two rectangular decorative panels, a larger one in the center and a narrow one to the right. The panels feature arabesque motifs including scrolling acanthus leaves (rinceaux), branches, fleurons, and flowers. The plate is numbered.
Minchiate (Tarot) Playing Card
, 17th century
Stencil-colored woodblock print
Playing card

1909-22-1-1/35: Partial set of Italian Minchiate playing cards50;     1909-22-1-23: Part of a set of Italian Minchiate playing cards.50
Drawing
, 1600–1625
Charcoal, pen and ink on paper; verso: charcoal, pen and ink, brush and watercolor on paper

Blank center rectangle is framed by term figures terminating in acanthus leaves. Above, a grotesque frieze with putti and satyrs. Below, a frieze with four dancing satyrs.
Sampler
Pauline Rieschke, 1800–1850
cotton Technique: satin and stem stitches on plain weave

Alphabets and monograms in red and white. Letters and designs were drawn on the cloth before the embroidery was begun. The larger holes were cut; the smaller ones pinches; both were overcast.
Elevation of a Small Church
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and gray ink, brush and gray wash on off-white laid paper
Drawing

Central bay: door with a circular pediment under a tablet. Bull's eye on top. Four pilasters support the entablature; triangular pediment with a coat of arms inside; a cross on top. Between the pilasters are niches under wreaths. The receding wall panels at the corners have volutes on top.
Weaver's thesis book
, 19th century
buckram, paper

Description and directions for setting up a loom, including sketches of heddle arrangements, and finished samples of 102 different textiles. Directions in German script. Bound in worn grayish buckram with "Fried. Rölker" stamped in gold letters on the front cover.
Recollection of Scenery between Popayán and Pasto, Colombia
Frederic Edwin Church, American, 1826–1900, August 13, 1853
Graphite on tan wove paper
Drawing

Landscape sketch showing the mountainous topography between the cities of Popayán and Pasto in Colombia. In the foreground at right, a craggy mountaintop descends to shorter hills at lower center. At center, a long, flat ridge extends horizontally to a rugged mountain range that extends obliquely into the distance at left.