biglam/cooper-hewitt-alt-text huggingface dataset:
Self-Portrait
Kenyon Cox, American, 1856–1919, ca. 1880
Graphite on laid paper
Drawing

Self-portrait of the artist in collar and bowtie, looking directly ahead.
Trimming
, 1750–1800
silver metallic foil and silver metallic foil wound onto white silk Technique: bobbin lace, metallic

Wide border of metallic silver lace in all-over small scale repeated diamond shape, divided at intervals with a stripe. Outer edge is scalloped.
Border
, 1810–25
Block printed and flocked on handmade paper

Design consists of a flocked acanthus frieze interspersed with assorted, multi-colored flowers (unflocked) against a polished background. The bottom edge is banded in an architectural molding with convex oval shapes. Printed in greens, pink, red, blue-green, yellow, gold, rust, white and light gray on cream ground.

H# 441
Landscape, Darmstadt
William Trost Richards, American, 1833–1905, June 27, 1867
Graphite on paper
Drawing

Sketch of a clearing in the woods, with large trees framing the composition.
Birth Certificate
Heinrich Ebner, active United States, 1783 - 1850, 1818
Calligraphy in brown ink, brush and watercolor on paper
Calligraphy

The printed form; the blanks in the center never filled in. Five printed verses in German in horizontal rectangular frames. Date and maker's name below. Angels, type I, upper left and right. A putti with a horn, above center. United States eagle below center, and birds on branches lower left and right. Blocks printed in black, colored by hand.
Fragment
, 17th century
linen Technique: needlework on gauze weave

Fragment of a border with a white curving vine on white gauze weave.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Grid or trellis pattern composed of acanthus scrolls, a floral motif or bouquet fills the intersection. A foliate motif with eight branches, floral motif at center, fills each void. Printed in green, yellow, brown, and metallic gold on light colore ground.
Magic lantern
, 1850–1900
Tôle (painted tin)

a) Figure of a seated figure in blue-gray trousers and green coat, on circular plinth decorated with masks and shells. Threaded circular opening on belly. b) conical pierced hat. c) tube with square slide holder. d) upainted projector tube, lens missing. e) circular slightly domed cover.
Study of Forested Countryside with Stream
William Trost Richards, American, 1833–1905, 1885–1902
Graphite on cream wove paper
Sketchbook folio

Landscape with trees. In center foreground, single large tree. Additional trees in middleground on left and right. In right foreground, extending back, a small stream with a wooden bridge.
Campaign ribbon
, 1904
silk Technique: jacquard woven

Black and white woven souvenir with a portrait of Theodore Roosevelt from the 1904 presidential election. Inscription across the top reads "For President. 1904." Along the bottom is the woven signature "Theodore Roosevelt" and the word "Republican."
Hand Drum Motif
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Commonly found are textiles are hand drums (Tsuzumi), which are traditional Japanese drums. Using the komon technique, repeated spiral and floral patterns create this textile design. The upper left and right portion are significantly damaged.
Sidewall
W.H. Mairs & Co., 1855, 1905–1915
Machine-printed paper, liquid mica

Seemingly random arragnement of red and pink roses on leafy stems. Printed on light yellow ground.
Nevada Fall, Yosemite
Carleton E. Watkins, American, 1829 – 1916, 1861–66
Albumen silver print
Photograph

View of body of water, trees in middle ground, and waterfall between cliffs in distance. In foreground, rocks and wooden log.
Border
, 1800–1825
Block-printed and flocked on handmade paper

Naturalistically represented large, veined leaves, tendrils and contorted stems in grisaille-like beiges and white in continuous arrangement on background of bright deep blue flocking. Below, banding of horizontal beige and white lines, the banding, illusionistically shaded, appears in-the-round, with tiny snakes coiled about at regular intervals.
Pleated fan
, 19th century
Printed and hand-colored paper leaf, painted parchment leaf, pierced and gilded mother-of-pearl sticks, rivet set with faceted stone, gilt metal bail, tassel of silk and metal threads

Pleated fan with double leaf. Obverse: a narrow printed and hand-colored paper leaf showing a pastoral scene. Reverse: a painted parchment leaf showing a coastal scene. Elaborately pierced and gilded mother-of-pearl sticks. Rivet set with clear faceted stone and gilt metal bail. Tassel of silk and metal threads.
Sampler
, 19th century
silk and metal embroidery on linen foundation Technique: embroidered in satin, stem, running, and chain stitches on plain weave foundation

Floral bands in multicolor silk with metal sequins.
Fragment
, 300–500
wool Technique: tapestry weave

Tapestry weave fragment showing a symmetrical undyed shape on red ground. At center, a human head. Incomplete border of green and white.
Azaleas
Samuel Colman, American, 1832–1920, 1876
Graphite, brush and watercolor and gouache on tan wove paper
Drawing

Studies of azalea branches, with pink flowers. Verso: pink ladyslippers, a blueberry branch with flowers, huckleberry, and parsnip.
Sunset across the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Landscape sketch showing a view of a summer sunset behind the Catskills, likely from the artist's property near Hudson, New York. The last light of the setting sun vibrantly illuminates clouds near the horizon in fiery yellow and orange-red. Sky is a dark olive green while mountains are rendered in dark purple, and foreground in deep evergreen. Light blue ground visible along upper margin.
Decorative panel
, 1860–70
Block-printed paper

Grouped about on top of a cloud are three putti. In their center reclines a female figure with a floral bandeau in her hair, a gold and pearl necklace,and a jewelled belt. She wears a classic draped garment and a scarf is draped about her. Roses are scattered over surface of cloud; printed on blue ground.
Wall Elevation with Windows and a Mirror
Étienne Charpentier, French, 1707 – after 1792, mid- 18th century
Etching and engraving on laid paper
Print

An interior wall elevation with ornamental rococo paneling with a central mirror and windows on either side. The mirror is framed by acanthus leaf and shell motifs, c-scrolls, fleurons, and diaper pattern above with a large central fleuron formed of plumes and below with a shell. Large windows or doors on either side without any fixtures, made up of small square panels of glass set into the frames. On either side of the doors, long vertical panels with ornament in the upper section of acanthus leaves, fleurons, and c-srolls. A plain dado level below the panels and the mirror.  Below the elevation is a scale and four outlines of the wall paneling, as seen from above, illustrating the shape and depth of the carving.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a base with steps and laterally standing candlesticks with a row of burning candles and one in the center on top. More steps are leading toward the pedestal. They are flanked by obliquely disposed bases with female allegories sitting upon them. The lower part of the pedestal is angular, its front panel being decorated with a relief. Putti sit upon its corners and support a festoon. The upper part is circular, and divided into three bands, the smallest, the central projecting. The lower is decorated with festoons, the upper is fluted. The group on top is possibly like that in 1938-88-1318.
Figural Scene with Artist Drawing Female Figure While Man Watches from Behind
Felice Giani, Italian, 1758–1823, late 18th–early 19th century
Pen and brown ink on cream laid paper
Drawing

Figural scene in an interior setting with hanging cloth around room.  Artist, at center, draws or paints female figure, at right, while a man stands, watching, from the left behind the artist.
Coupe et détails fesant suite à la petite Ferme d’agrément, Par Belanger Artiste Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with two exterior elevations and three sectional views for ornamental farm buildings including an icehouse and dairy. The plate is titled, numbered, and signed.
Balcony Rail (Balustrade) Design
S. Vallée, French, 18th century, 18th century
Etching and engraving on paper
Print

Design for a wrought-iron ornamental balcony rail (balustrade) featuring scrolling bands. The plate is signed.
Rooftops by the Sea, Jaffa, Palestine (Tel-Aviv, Israel)
Frederic Edwin Church, American, 1826–1900, March 7, 1868
Graphite on white laid paper; verso; graphite
Drawing

Landscape and architectural sketches showing views of rooftops, at left, and the facade of a house, at right. At left, the rectilinear and domed forms of various roofs in Jaffa are visible, with the sea visible in the background. Laundry hangs between two buildings. At right, a plaster exterior wall is shown with a door, a shelf, and three panels with vine settings.

Verso: Figure studies showing twenty-three partial and complete views of men, women, and children in Jaffa, in what is now Israel. Most individuals are adorned in a headdress and draped clothing.
Two Young Girls, One Holding a Cage
Francesco Bartolozzi, Italian, active England, 1727–1815, ca. 1760–1770
Engraving in brown ink on white paper
Print

Two young women, the foremost facing frontally, the other regarding a caged bird to the right.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with an arabesque ornament design featuring Neoclassical and Empire style motifs - mythological creatures and figures, putti, cornucopia, festoons of flowers, baskets of fruit and flowers, rosettes, swans, griffins, fleurons, scrolling acanthus leaves and foliage, rosettes, vases, masks, vignettes with figures, fan ornament with repeat patterns. The plate is numbered.
Sidewall
Benton, Heath & Co., Hoboken, New Jersey, 1875 - 1917, 1890–1900
Machine-printed

Sprays of small pink roses and yellow forget-me-nots with green leaves. At end of sprays are grasses in blue-green frosted work. Sprays have a scattered informal arrangement. Alternating green frosted work and plain ivory stripes form the field. On margin is printed: "Benton, Heath & Co., Hoboken, N.J. 1812 WC".
Elevation of a town mansion
Giuseppe Barberi, Italian, 1746–1809, 1786–1787
Pen and brown ink, brush and brown wash, graphite squaring on off-white paper, lined
Drawing

Design for a façade of Palazzo Braschi alle Convertite.
Agamemnon Refuses to Liberate Chryseis; Minerva Appears to Achilles; The Abduction of Briseis: Galerie d'Iliad, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1802–05
Pen and brown ink, brush and gray-brown wash over traces of graphite on white laid paper
Drawing

In upper drawing, kneeling priest and companions at left; Agamemnon stands with two captive girls at right with ship in background. In center drawing, Achilles calmed by Minerva while draws his sword. In lower drawing, Achilles seated at left while Patroclus asks Briseis to follow two messengers of Agamemnon.
Leafless Bough of a Tree, Catskill, New York
Frederic Edwin Church, American, 1826–1900, April 1845
Graphite on tan wove paper
Drawing

Botanical sketch of the leafless bough of a tree in or near Catskill, New York. The bough's twisting, undulating forms rise vertically and its branches become increasingly thin as they extend outward. Portions of the tree's trunk and other boughs are loosely rendered in outline along the lower margin.
Sepulchral Monument for Felice Fontana, Professor of Philosophy, Padua
Giuseppe Barberi, Italian, 1746–1809, after 1795
Pen and brown ink, brush and brown wash, graphite on blue-white laid paper
Drawing

In a landscape with a view of a distant building at left, a monument to Fontana stands. It consists of a cinerary urn inscribed with "FONTANA" upon an ovoid pedestal inscribed with "QUI.GIACE.IL.GRANDE.E/ BRAVO.FONTANA.CHE.FU/ FRATE.MA.SCRISSE.DA.PRIV/ GRAN.FILOSOFO.FU.REPUBLI(ca) no/ MA.GIUSTO.E.PRUDENTE". The pedestal stands upon two steps and a base from which water pours. A woman with a roll of paper leans upon the pedestal on the left, while another one points her forefinger at the urn and holds in her left hand a snake(?). Behind the woman, an incense bowl stands upon four chincaerae legs.
Girl with a Pail
Winslow Homer, American, 1836–1910, 1879
Carbon tracing, retouched on paper
Drawing

Vertical view of a standing girl, wearing a plaid dress and straw hat, holding a lunch or berrying pail and facing to her left.
Button
, mid-19th century
Brass

1940-28-4: Circular button with metal shank. Stamped ornament...
Title Page
Pierre Ranson, French, 1736–1786, 1777–79
Etching on paper
Print

Title page and six designs for trophies incorporating weapons, a drum, cannon ball, spear, flag, horn, boar's head, bird, arrows, anchor, flute, panpipes, music, dog's head, axe, horn, quiver of arrows, and a flaming torch. The plate is titled and numbered.
Sketchbook Page: Death of Flaminius in the Battle of Trasimeno; Annabelle Loses an Eye in the Swamps of Fiano, Tuscany
Felice Giani, Italian, 1758–1823, ca. 1812
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Vertical panel showing two battle scenes with light figures against a dark ground. At top, an equestrian; at bottom, figures with elephant.
Lower end of staircase railing
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

The calyx at left and a low baluster with a calyx on top at right are connected by a garland. Colored background.
Landscape; verso: Grotesque Design
, early 17th century
Charcoal, pen and ink on paper
Drawing

Two women on a wall with steps leading to houses built on a hill. At right, a view of a valley. Verso: strapwork with monkeys and a helmet.
Old Theatre, Amsterdam
Jan de Beyer, b. 1703, 1775
Engraving on paper
Print

Horizontal rectangle. The gateway leading to the theatre is at right in a row of houses facing a canal. People are coming in carriages and by walking. Below at left: "J de Beyer, ad viv; del"; at right: "S. Fokke fecit." Caption: GEZICHT von den INGANG des GEWEEZENEN SCHOUBURGS / te Amsterdam. VUE de l'ENTREE de la COMEDIE PRECEDENTE / a Amsterdam". Above the upper right corner is the number: 30.
Coffeepot with "Hausmaler" Decor
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1725–1735
hard paste porcelain, vitreous enamel, gold, brass
coffeepot

Pear-shaped, on rounded flaring circular foot; scrolled handle, simple triangular spout, domed cover with flat circular finial. Solid gilding on foot, handle, lip, edge of pot and of cover, and finial. Underglaze decoration of floral sprays and birds; overglaze gilding representing a Chinoiserie scene of figures in landscape. Edge of pot and of cover mounted in gilded brass (missing?).
Button
, 19th century
Painted copper

Concave button painted in design of Persian cone motive (red and blue) on yellow ground with black border; copper shank. On card 10.
Menuiserie des Banquettes A et B
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation, profile, and plans for the benches represented in 1921-6-279-31. The plate is signed and numbered.
Dedication Page
Jean Lamour, French, 1698–1771, 1767–68
Engraving and etching on laid paper
Print

Engraved dedication page to the king. The Engraved text is framed by a wrought-iron rococo design, incorporating acanthus leaf, floral, wave and shell c-scroll motifs, with a framed headpiece vignette of the designer's workshop with the king in the middle accompanied by the designer and other figures in courtly dress. The description of the vignette is engraved above within a rococo frame. A tailpiece, in the lower center of the frame, depicts putti working with tools and a furnace. The vignette is flanked by trophies of arrows in quivers. The plate is signed.
Fragment
, 16th–17th century
silk Technique: 5-harness satin damask

Red silk damask with a design of checkered bands forming ogives with a crown as the point of each ogive. Conventionalized palmette in center of each ogive.
Allegory of Transience
Giovanni Benedetto Castiglione, Italian, 1609–1664, 1655
Etching on paper
Print

Scene of two shepherds and a boy among classical ruins. At right, a kneeling male figure wearing a turban crouches near a quiver of arrows. To his right, a standing figure with a shepherd's staff points his right hand towards an inscription on a curved wall. At right, a small boy in a cape holds a finger to his mouth. Behind him, a woman washes the face of a man (possibly a sculpture). Standing on the wall at upper right near a large carved urn is a cherub figure holding a bat.
Horseshoe Falls from a Distance, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, possibly 1856
Graphite and white gouache on tan wove paper
Drawing

Landscape sketch showing a distant view of Horseshoe Falls of the Niagara River, as seen from the Canadian bank. Viewed frontally, the edge of the falls stretches horizontally across the composition. The falls themselves are represented by vertical striations of white gouache at right, while a plume of mist drifts across the river to the left. Closer to the viewer, the river's white, churning waters are visible.
Timepieces
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for timepieces.
Chinese Man Smoking an Opium Pipe in a Baxter Street Club House, New York City
Winslow Homer, American, 1836–1910, ca. 1874
Graphite on off-white wove paper
Drawing

Horizontal view of a Chinese man lying on a table supported by trestles and smoking an opium pipe; another prone figure is visible in background.
Soleil
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical staff with suburst decorated with ornament motifs including laurel leaves, scrolls, and shells. The plate is signed and numbered.
Meadow in Autumn, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Brush and oil on paperboard
Drawing

Botanical sketch of plants and bushes in a sloped meadow. Bush's leaves and much of foreground rendered in warm, autumnal colors. Beige ground visible along lower margin.
Cloudy Sky over a Wooded Ridge, Niagara Falls
Frederic Edwin Church, American, 1826–1900, 1856 or 1858
Graphite and white gouache on gray-green wove paper; verso: graphite and white gouache
Drawing

Landscape and atmosphere sketch showing a view of a cloudy sky above a wooded ridge near Niagara Falls, backlit by the light of the sun or moon. Dark treetops are visible along the lower margin, while light and dark clouds mix in the sky above.

Verso: Landscape sketch showing a view of Horseshoe Falls and Terrapin Tower from the Canadian bank of the Niagara River. Viewed from below, the massive falls stretch horizonally across the composition and send sheets of water cascading over the edge. The Terrapin Tower is visible, perched atop the edge of the falls at left. In the foreground below, the churning water of the Niagara River is visible.
Frame
Giuseppe Valadier, Italian, 1762–1839, ca. 1796
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Subdivided into a panel below, decorated with a trophy or arms; surrounded by a wreath standing upon it, and the remaining part of the outer frame. Panel for the inscription. On top of the frame of the inscription is a prelate's escutcheon between two acroteria. A festoon  hangs in the panel of the outer frame. Laterally, two candelabra crowned with flames. The dimensions are written inside or beside. Dark background.
Big Island, Battle Harbour, Canada
Frederic Edwin Church, American, 1826–1900, July 7-10, 1859
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of rocky cliffs along the shoreline of Great Caribou Island (referred to by Church as "Big Island") near the town of Battle Harbour in Newfoundland and Labrador, Canada. Foamy, white and blue surf comprises the foreground as it breaks against the rocks, which dominate the composition at left and center. The steep, craggy cliffs rise abruptly out of the water and include a wide vein of white rock, like quartz, that ascends diagonally from left to right. The overcast sky is visible along the upper margin, above.
Ornamental Vignette
, 18th century
Etching and engraving on laid paper
Bound print

Small vignette of two women dressed as shepherdesses, with a flock of sheep and goats. The scene is set aloft a rocaille platform of grass and scrolls. The plate is not signed or numbered.
Trimming
, 19th century
silk Technique: woven

Yellow and white trimming fragment in a design of an open flower alternating with a scrolling leaf ornament; one picot edge.
PLATS OVALE
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Three designs for oval serving dishes with Empire style motifs. The plates are displayed overlapping, each with decoration in the center and decorative borders along the rims, featuring reeds, fleurons, rosettes, birds, fish, lobsters, snails, friezes with figures and ornament, and foliate scrolls. The plate is titled, signed, and numbered.
Cartouche Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716-19
Etching on laid paper
Print

Ornament design - a cartouche above and grotesque motif below. The designs feature putti, lions, mythological creatures, mascarons (masks), a crown, palm leaves, banners, quivers of arrows, shields, spears, flags, shells, fish scale patterns, c-scales, fleurons, foliate scrolls, and scrolling leaves. The plate is signed.
Fragment
, 18th century
silk; tempera Technique: painted on plain weave

Textile fragment. Cream-colored (originally white) silk with design painted in polychrome tempera. Design of vertical repeat of flower wreaths and garlands, held in place by ribbons, and with birds and insects scattered through the spaces.
Ornament Detail and Designs for Decorative Ironwork
Jean Lamour, French, 1698–1771, 1759–68
Etching and engraving on laid paper
Print

Two plates printed on a single sheet, The upper plate is a detail of a design for rococo ornament with a shell motif, flowers, fleurons and an acanthus leaf scroll. The lower plate features three designs for sections of decorative wrought-iron balustrades, with rococo ornament and motifs, acanthus leaves, c-scrolls, palmettes, foliage and fleurons. Both plates are numbered and the lower is signed.
Studies of a Right Foot, Two Heads
Daniel Huntington, American, 1816–1906, 1852
Graphite, brush and brown wash on off-white wove paper
Drawing

Two heads of men, the left one in left profile. Ankle and foot of reclining or kneeling person, below. Verso: Elderly man in a robe, facing slight right. He has a beard. The body lightly sketched.
Le Blessé
Charles-Germain de Saint-Aubin, French, 1721–1786, 1753-1757
Etching on laid paper
Bound print

An injured butterfly is shown lying in the middle of a stretcher carried by two butterflies (one on the left and one right). Another butterfly walks beside the butterfly carrying the stretcher on the right. A small butterfly with a parasol or umbrella flies above the injured butterfly. The area underneath the ground they walk on is shown at the bottom of the composition, and the words "LE BLESSÉ" are printed in black at the bottom center. The plate is not signed or numbered.
Trimming
, 18th century
silk Technique: uncut voided supplementary warp pile (velvet) in a twill foundation

Design of armorial shield alternating with head of a dark-complexioned woman wearing ribboned headdress. Colors are pink, white, blue, and black on white ground.