biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for Jewelry
Gilles Légaré, French, 1617 – after 1685, 1663
Engraving on paper
Print

Designs for bracelets and clasps featuring gems, flowers, scrolling leaves, ribbons, and bows. The plate is signed and numbered.
Landscape Near Guaranda, Ecuador
Frederic Edwin Church, American, 1826–1900, June 5, 1857
Graphite, brush and white gouache on gray-green paper
Drawing

Landscape and figure sketch showing a view of the mountainous terrain near Guaranda, Ecuador. In the rugged, partially wooded foreground, four figures are present-two sit near center while one walks away nearby. At lower right, a figure wearing a hat approaches the others. In middle distance, a dramatic, wooded prominence serves as central focus (known as El Penon or "The Rock" to local inhabitants). A river, rendered in white gouache, winds its way around the base of the prominence. Various human-made structures visible along river bank at left. In landscape beyond, cultivated fields are visible. A sharp mountain range stretches across the background. At upper right, three floating figure studies.
Cover
, 19th century
linen, silk Technique: embroidered on plain weave

Central panel has embroidery in design of crowned birds on either side of a basket of flowers. Carnation ornaments in corners with borders of stylized flowers and drawn work.
La Grote du Chasteau de Meudon
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior façade for the grotto at the Castle Meudon, France, featuring stairs, windows, columns, pilasters, horizontal banded rustication, and statues in niches. A scale below. The plate is titled and signed.
Pedestal
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two halves are shown. Left: a scrollwork escutcheon is in front. A cherub is above, at left. Right: the front is fluted, having a double row of leaves at the bottom and a festoon on top. A volute with a cherub is at the side. A base of a column is shown on top. Colored background.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738 and 1745
Engraving on paper
Bound print

Two rocaille designs for upright wall panels. Left panel: at upper center, two putti figures fight or play beneath drapery. Right panel: within cartouche at upper center, a scene with three putti figures playing in a landscape, one riding the shoulders of another. Above them, a beaming sun flanked by dolphins.
Trimming
, early 19th century
White, black, and colored silk in velvet weave.

Two shields, each under a crown, showing two black animals surrounded by a blue border with stars, and the other a red cross on gold X on a blue ground surrounded by a red border.  Galloon has a white ground with borders of diagonal blocks alternating red and yellow.
Fireplace (Chimney Piece and Mantel) Designs
Jean Mansart de Jouy, French, 1705 - 1783, ca. 1767
Etching and engraving on laid paper
Print

Designs for a chimney piece (fireplace, overmantel mirror, and panel above) illustrated as a detailed wall elevation with two different options in the design (split in half). The designs feature rococo ornament, c-scrolls, shells, scrolling leaves (rinceaux), palmettes, cartouches, sprigs, flowers, wave, and rocaille motifs. The sculpted panel above features central foliage ornament, and asymmetrical framing with dragons, wings, feathers, and festoons of flowers and sprigs. The paneling (boiserie) flanking the chimneypiece is framed by plain molding with two different options of vertical panels and dado level below. The plate is numbered, signed, with a scale below.
The Bad Lands of Dakota
Thomas Moran, American, b. Britain, 1837–1926, August 4, 1892
Graphite on paper
Drawing

Horizontal view of rock formation with a pool of water in left foreground.
Molding Designs, Plans, and Sections for a Mantle
Jean Mariette, French, 1660–1742, late 17th–mid- 18th century
Etching and engraving on laid paper
Print

Molding designs for a mantle and overmantel with section and plan views. The details are lettered and titled. There is a scale in the lower right. The plate is titled, numbered, and signed by the publisher.
Fragment of Entablature in the Classical Style
Unknown, Italian, ca. 1770–90
Pen and black ink, brush and blue, brown, and gray wash, slight traces of graphite on white laid paper
Drawing

Depiction of a left corner fragment of an entablature, partially overgrown with plants, featuring a banded frieze with rinceaux and dragon motifs upon a blue ground.
Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

Ornament designs with grotesques motifs, featuring strapwork, masks, herms, a bird, flowers, fruit, foliage, and fleurons. A narrow design to the left is framed by lines, with another wider design to the right. The plate is numbered and signed.
Trimming
, 18th century
silk Technique: supplementary warp pile (velvet)

Red trimming fragment in a design of single wide blocks separated by two narrower blocks.
Recto, Design for a door handle with alternative suggestions
Jean Le Pautre, French, 1618–1682, ca. 1660–80
Pen and bistre ink, graphite, on laid paper
Drawing

Recto: left and right halves of different designs are joined. Left motif is composed of a dragon and flying putto, with foliate decoration; right motif, a half-figure and putto with foliate decoration enframe a rondel showing Hercules seated. Verso: left half shows a dragon's foreparts resting on a scrollwork bracket; right half, a flying putto and an eagle. Below, joined, two putti support the keyhole.
Textile
, 19th century
wool, metallic thread Technique: twill plain weave with compound twill stripes

Design of horizontal stripes in varying thicknesses, the majority in red and others in dark blue, yellow and metallic thread. Hexagonal shapes have small rosettes and small geometric patterning. Fringes at ends.
LE CHATEAU DE TRIANON
Adam Perelle, French, 1638 – 1695, 1687–1703
Etching on laid paper
Print

Plan view of the Trianon Chateau (Grand Trianon) set within its gardens featuring the chateau in the lower center, and gardens above and to the right with fountains in basins, trees, trellis garden pavilions, and parterre planting. The plate is signed and titled with a description below. The legend above corresponds to the numbers within the plan.
Design for Fan, from "Écrans à Main"
, ca. 1725
Etching on paper
Print

Escutcheon: The embarcation for Cythera. Two couples and two puttos with torches, near a boat. Children at a bow contest are shown on top, persons resembling skaters, at the bottom.
House upon a Hill near San Miguel, Ecuador
Frederic Edwin Church, American, 1826–1900, June 2, 1857
Graphite on gray-green wove paper; verso: graphite
drawing

Landscape study showing a view of a house atop a heavily wooded hill near the town of San Miguel, Ecuador. In the foreground, a road curves up the hillside until it reaches the house in the middle distance at center, which is viewed obliquely. Rocks are visible in the foreground at right. At left a tall tree and other vegetation serve as framing devices. 

Verso: Unfinished sketch showing the outlines of mountain ridges.
Plate from Frises, Feuillages et Grotesques (Friezes, Foliage and Grotesques)
Stefano della Bella, Italian, 1610–1664, ca. 1645
Etching on laid paper
Print

Horizontal rectangle showing two friezes composed of scrolling acanthus arabesques and masks. At upper right, a lion's head' lower left, a bucranium.
Galerie métallique des grands hommes français (Great Men of France)
Armand-Auguste Caqué, French, 1793 - 1881, 1821
Cast bronze
Medal

Bust of Jean-Baptiste Poquelin Molière (1622 -1673).
Table
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a table.
Button
, 19th century
Plated pewter

Component -b is on card C
Two convex buttons with "Garde Nationale" around outside.
Sidewall
, 1820–30
Block-printed

One and one-half widths of striped paper with alternating bands; checkered band of lighter and darker green lozenges flanked with green lines, and grey stripe printed with white chevrons between white lines. Overprinted double row of vine with leaves, blossoms and berries, placed horizontally.
Trophy of Arms with Hercules
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A trophy of arms with the standing nude figure of Hercules, leaning against a club and holding the skin of a lion, framed by putti, shields, torches, quivers of arrows, spears, helmets, and banners. The publisher's address is lettered below.
Cartouche with Putto Holding Trumpets
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank asymmetrical upright rocaille cartouche topped with a putto figure holding two trumpets. An additional putto supports the ornamental frame at lower right.
Project: The organ and organ loft in the Cathedral in Veroli
Giuseppe Subleyras, Italian, 1745 – 1819, 1796
Pencil and blank ink pen with yellowish brown, light blue, black, and light rose water colors on paper
Drawing

The elevations of the wall of the middle strip with the main gateway and of most of an adjoining wall of a lateral strip are shown. The left hand of the doorway is shown opened with the inscription "Porta/Maggiore." Written in the closed doorway: "Bussolone." At the bottom of the doorway: "Piano e Pavimento della Chiesa." The carved parapet of the pit is shown in the right half and the organ with the dado supporting the pipes and the floor of the pit are shown in the left half with the inscription "Bancone dell' Organo" and "Piano del Palco." The pipes flank the circular window covered by a canopy. Written in the window: "Occhio/che da lume alla Chiesa." Winding stairs lead up to the pit at left with the inscriptions "Scaletta chi sale al Palco" on top and "Nave/laterale" beside. A caption on the top left reads "Prospetto dell' Organo da farsi sopra la/di Veroli con il Palco e cantoria, e Bussolone sotto. lasciando libero/il finestrone tondo sopra da Porta, che/da lume alla Chiesa." The scale at the bottom reads "40 Romani."
Study for "The Gulf Stream"
Winslow Homer, American, 1836–1910, 1898–99
Brush and watercolor, black chalk on heavy white wove paper
Drawing

Vertical view showing the listing bow of a boat with a broken mast, among swelling waves.
Panel
, 4th–6th century
warp; S-spun, Z-twist linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary wrapping

Pictorial image of a Dionysus and Ariadne: dancing female figure holding a bowl and a nude male figure with an animal at his feet. Frame of mosaic pattern.
Cup and Saucer
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel
cup and saucer

Cup with simple loop handle; saucer deep, with curved sides. Inside of cup and saucer white, with scattered flowers; outside of cup underside of rim of saucer yellow, with white reserve panels, on cup, in which are flowers.  Edges of cup and saucer brown.
Designs for a Vase
, 1800–1835
Pen and ink, brush and wash on paper
Drawing

Elevation of a footed vase. Lower body decorated with festoons between bow knots. Upper body decorated with busts within medallions. Greek key motif at neck.
Ferdinand I, Holy Roman Emperor
Barthel Beham, 1502 - 1540, 1531
Engraving on laid paper
Print

Bust length portrait of the Emperor, three-quarter view, turned toward the left. Initials "B.B." at upper right. Inscription in frame below: Inscribed: 'PROXIMUS A SUMMO FERDINANDUS CAESARE CARLO / REX ROMANORUM SIC TULIT ORA GENAS/ AET. SUAE XXIX/ ANN. M.D. XXXI."
Study for "The Life Line"
Winslow Homer, American, 1836–1910, 1883–1884
Charcoal, white chalk on cream wove paper, lined with muslin
Drawing

A firefighter faces right and holds an unconscious young girl in a gurney as he carries her to safety.  The girl's head rolls back, her right arm hangs down limply and the other clutches a rope.
Photograph
Frederic and William Langenheim, 1850–54
Glass stereoscopic transparency

Two glass slides--one lighter--of man seated at a work table with several scientific objects.
Philactetes Applies the Torch of Hercules to the Funeral Pyre
Felice Giani, Italian, 1758–1823, 1780–1800
Pen and brown ink, brush and brown wash on light blue laid paper
Drawing

Philactetes shown at left in foreground, bow and quiver lie at right. Hercules still living lies upon burning pile.
Design for a Console Table
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Graphite, pen and ink, brush and watercolor on paper
Drawing

Elevation of a table in the form of three winged lions supporting a flat plinth.
Button
, 19th century
Brass

Slightly convex button with ornament showing the intitals "LF" below a crown. Brass back and shank.

On card E
Side wings in a stage setting
Giuseppe Barberi, Italian, 1746–1809, 1815-1839
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Beside the door are two benches covered with cushions. The walls are decorated below with an inversed cresting border, above which is what most likely seems to be the arcade of a window. Drawn partly over it is a frieze, at left. Above, on either side, are two statues upon consoles.
Four Designs for the Frame of a Tablet
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, graphite on off-white laid paper, mounted on off-white laid paper, lined
Drawing

Two rows, the sketches in the upper one drawn with a finer pen than the ones below and partly over accountings written in pencil. Upper row, at left: above, a prelate's escutcheon, three others beside and below the inner tablet. At right: the inner oblong is framed by crossed branches, with trophies, laterally in front. Above the escutcheon. Bottom row, at left, the escutcheon is on top of the inner tablet. Its upper part is in front of the framing. It consists of oblongs and squares with rosettes in the corners. In the lateral oblongs are trophies. At right, the inner tablet is ovoidal, with an escutcheon on top, which evidently is intended to be supported by two flying genii. The framing is ovoidal, with trophies in the lateral and bottom panels. "109" is written in the upper right corner.
Covered Milk Jug
Doccia Porcelain Factory, Italian, established 1735, 1780–1800
hard paste porcelain, vitreous enamel
milk jug

Pear form body decorated in manganese palette over white glaze with sprigs of flowers. C-scroll handle with back scroll terminal.  On the side, a female classical caryatid figure with basket of fruit on her head in an oval reserve.  The lid decorated in manganese with scrolls and dots.
Top Part of an Ornamental Panel
, 1750–1775
Brush and watercolor on paper, mounted
Print

In the left foreground is a tree whose leafy branchces extend to the right top corner. Bottom center: top of a crest. Farhter back part of a castle with towers and a bridge. Trees in the background. Dividing line at bottom.
Design for the coat of arms of Isabella I of Castile and Ferdinand II of Aragon
Raimundo de Madrazo, Spanish, 1841–1920, 
Drawing

Design for the coat of arms of Isabella I of Castile and Ferdinand II of Aragon. Made for the painting The Return of Christopher Columbus to the Spanish Court, currently owned by the Italian Charities of America.
NOUVELLES HALLES AUX GRAINS ET FARINES
Gravelot, French, 1699 - 1773, active in England, 1766
Etching and engraving on paper
Print

An oval medallion with an allegorical vignette celebrating the new Parisian grain and flower markets, accompanied by a detailed description lettered below. The female personification of Paris sits in the foreground, wearing a crown of towers and holding a ship, gestures towards the new market building and column in the background. Next to her a putto holding a tablet and a sickle. The medallion is framed by a lion holding two coats of arms. The plate is titled, numbered and signed.
Les Coquecigrues
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1792
cotton Technique: block printed with some colors applied by brush, on plain weave foundation Label: block printed cotton with some colors applied by brush
Textile

Fragment of printed cotton with small-scale design of exotic flowers and fantastical insects in blue, green, yellow, and many shades of purple, red and pink on a puce ground.
Wood engraving, vignette
, 1800–1830
Engraving and Etching

Bush of Mercury.
Coverlet
, 19th century
wool, cotton Technique: plain compound weave (overshot)

Traditional geometric design in bands of black and tan wool pattern wefts on undyed cotton ground. One plain edge continuous with field. Reversible.
Pleated fan
, 1730–1750
Painted paper leaf, carved and silvered mother-of-pearl sticks

Painted paper leaf. Obverse: marriage in a garden with putti trying on classical armor. Reverse: plain. Carved and silvered mother-of-pearl sticks with floral and scroll decoration.
Design for Overdoor and Frame, from "Recherche de Plusieurs Beaux Morceaux"
Jean Le Pautre, French, 1618–1682, 1661
Etching on paper
Print

A = Jombert 16, 2. B = J. 41, 6.
Fragments
, ca. 1730
silk Technique: woven

Brown horizontally ribbed ground with design of large-scale floral groups and small-scale castle, circular colonnade, and rocky formation with top heavily covered with foliage. Design brocaded in green, brown, white, ivory, taupe, blue, purple, rose, pink, red, yellow silks.
Watch and chatelaine
, 18th century
silver, brass, glass

Both cases silver, the outer decorated on back with groups of circular perforations, a row of same around rim of front; inner case with plain split bezel set with convex glass; back pierced and engraved with design of foliate rinceaux, birds, grotesques and small circular medallion engraved with landscape and houses; center of back left in reserve except for small foliate motif; rather large pendant with oval pivoted loop; dial silver with champlevé engraved Roman hour numerals on mat ground; in center, rotating alarm disk with Arabic numerals 1 - 12 counter-clockwise; very short steel hand; two winding pins on dial; brass movement, hinged on same pin with bezel, drops into bell screwed to back of case; fuzee with chain, verge escapement; tangent screw between the plates; large spring balance covered by cock pierced with foliate rinceaux, birds, grotesques and a mask; square Egyptian pillars.
Standing Magus, Seated Soldier, and a Man, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Second state
Fan leaves, Tenth and eleventh plates of the set, "Divers Desseins de grands Eventails, Encrans, et autres Ornamens, inventés et gravés par Nicolas Loire"
Alexis Loir, French, 1640 - 1713, ca. 1750
Etching, engraving on laid paper
Print

Rachel and Jacob at the well; two flying putti and fountains with dolphins.
Fragment
Jean-Baptiste Huet, French, 1745 – 1811, ca. 1802
cotton Technique: printed by engraved copper plate on plain weave

A toile "Paul et Virginie" by Huet. Brown printed on a white ground showing two women with babies, a man approaching two children, a shipwreck, two men in a rowboat, and a boy and girl on shore. Many plant forms as background.
Fragment
, 17th century
wool, silk, linen Technique: two integrated structures, plain weave plus plain weave

Flower betwen two large curving leaves.
Portrait of Joannes Miraeus, Bishop of Antwerp
, ca. 1700-1730
Engraving on paper
Print

Within an oval frame is the bust portrait of a cleric, wearing a beretta and heavy cape, half ope, revealing his episcopal cross. Below, his escutcheon and motto, and inscription.
Sketch of Hand and Wrist
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Outline of hand and wrist. Hand, lower left.
Fragment
, 19th century
linen Technique: knitted lace

Fragment with a pattern of hearts and spots within diamonds.
Lace ornament
, late 19th century
linen Technique: Brussels-style bobbin lace

Ornament in design of small flowers with several types of leaves. Probably intented to be worn as a jabot.
Portrait of Robert Bertie, 1st Earl of Lindsey
Jacobus Houbraken, Dutch, 1698 - 1780, 1742
Engraving on laid paper
Print

In an oval stone enframement, surrounded by instruments of warfare, is a bust length portrait of Robert Bertie, First Earl of Lindsey (1572-1642).
Proscenium and Curtain, Little Theater of the Orphans, Faenza
Romolo Achille Liverani, Italian, 1809 - 1872, 1869
Pen and black ink, gray wash
Drawing

Horizontal rectangle: Sketch for decoration of stage side of theatre in antique forms. Curtain design with antique domed building, fountain arcades, etc., in landscape.
Fragment
, 17th century
silk Technique: supplemewntary warp forming cut and uncut raised pile (velvet)

Leaves in interlaced strapwork in brown on white.
Border
, 19th century
cotton, silk Technique: cross stitch embroidery

Border of coarse cotton embroidered in blue silk in conventionalized designs and stylized plant forms.
Sketch of Female Nude
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Woman in semi-reclining position, looking off to the right in profile.
Chalice cover
, 18th century
linen Technique: needlework on knotted net

Central ornament surrounded by strap flowers and tulips in each corner.
Portrait of Hans Makart
William Unger, German, 1837 - 1932, 1883
Etching on paper
Print

Half-length portrait of the Austrian painter, Hans Makart (1840-1884), seen turned to the left, his gaze directed frontally. His arms are folded across his chest, and he wears a full beard. Sitter's name below, and at top, publisher's name.
Drawing
Felice Giani, Italian, 1758–1823, 1795-1800
Pen and brown ink, brown wash over black chalk. Paper

Paris seated at left gives the golden apple to Venus who is seated, as are Juno and Minerva, at right. A cupid is seated upon the left knee of Venus, pointing an arrow at Paris. Another cupid with the bow flies beside Venus and a third one leans against her right knee.
Fragment
, before 1500
cotton Technique: plain weave

Pleain tabby. Very small windowpane check in two tans on once-white ground.
Night in the Park
Edward Hopper, American, 1882–1967, 1921
Etching in black ink on paper
Print

Night scene in a park. Corner of a path beneath a street lamp, with benches lining the far side. A man is seated on one bench, reading a newspaper, his back to the spectator.
Fragment
, 17th century
silk Technique: 5-harness satin damask

Narrow green damask in a medium-scale pattern of rising ogives fitted together. All interspaces are filled with a diaper pattern and scrolling leaves. One selvage present.
Sidewall
, 1700
Leather, stamped, silvered, varnished

Large floral bouquet within framework of strapwork. Strapwork includes motifs of quatrefoils and trellis design.
Border
, mid-18th century
linen Technique: bobbin lace (Mechlin style)

Mechlin-style border with an elaborate fond interspersed by asymmetric floral garland and ribbons.
Floral Tailpiece
Jean-Jacques Bachelier, French, 1724 - 1806, 1762
Etching and engraving on laid paper
Print

Sixth plate from the second series of tailpieces and fleurons originally designed for the 1755-1759 four-volume edition of the Fables de La Fontaine. A large fleurons or tailpiece, designed as a basket of overflowing flowers and leaves, with a hanging bunch of flowers from the bottom of the basket and a stick or tool hanging diagonally from behind the basket with a ribbon wrapped around the upper section. The plate is numbered and signed.
Textile
, 1915–1920
cotton Technique: block printed on plain weave

Length of textile printed in the Arts & Crafts style, with a full moon seen through pine trees, reflecting the influence of Japanese design.
Design for stained glass
Alice Cordelia Morse, American, 1863–1961, late 19th century
Brush and gouache, watercolor on paper mounted on tan illustration board
Drawing

Three identical designs, framed in orange, and then in light blue scallop forms, inside in yellow and orange with an anthemion in red and orange.