biglam/cooper-hewitt-alt-text huggingface dataset:
Album of Prints: Oeuvres diverses de Lalonde décorateur et dessinateur...1. Partie.
Richard de Lalonde, French, active 1780–96, 1775-1788
Album

Album of prints after designs for interior decoration by Richard de Lalonde, which includes 26 sets of 6 plates each.

1er. Cah. de l'Oeuvre de La Londe: Cahier de Bordures à l'usage de la Sculpture &c. avec leurs Profils; Berthault sc.
2e. Cah. de l'Oeuvre [de La Londe]: Cahier de Bordures et de Cadres, de differentes forms; Foin sc.
3e. Cah. de l'Oeuvre [de La Londe]: Cahier de Pieds de Meubles à divers usages; C. Le Meunié sc.
IIIe.Cahier de Bordures à l'usage de la Sculpture &c. avec leurs Profils.; Berthault sc.
5e. Cah. [de l'Oeuvre de La Londe]: Cahier de Tables et Consoles avec leurs Plans; Foin sc. [missing plate 1 of suite]
VIe. Cahier de l'Oeuvre [de La Londe]: Cahier de petites Bordures à l'usage des Artistes.; Foin sc.
VIIe. Cahier de l'Oeuvre [de La Londe]: Cahier de Portes, Corniches et Entablatures decorés, avec leurs profils.; C. Le Meunié sc.
VIIIe. Cahier de l'Oeuvre [de La Londe]: Cahier de Girandoles, Candelâbres et Lustres avec leurs plans.; Foin sc.
IXe. Cahier de l'Oeuvre De la Londe: Cahiers de Trophées Soffites et Vases.; C. Le Meunié sc.
Xe. Cahier de l'Oeuvre De la Londe: Chambranles de Cheminées; Foin sc.
XIe. Cahier de l'Oeuvre De la Londe: Dessus de Portes et Cartels.; Foin sc.
XIIe. Cahier de l'Oeuv. De la Londe: Cheminées avec leurs Trumeaux &c.; De Saint-Morien sc.
XIIIe. Cahier de l'Oeuvre de La Londe: Plafonds de diverses forms.; C. Le Meunié sc.
XIVe. Cahier de l'Oeuvre de La Londe: Rosettes de Plafonds avec leurs Profils; Foin sc.
XVe. Cahier de l'Oeuvre De la Londe: Cahier de Modillons et de Rosaces; Foin sc.
XVIe. Cah. de l'Oeuvre de La Londe: Cahier de Feux, Cartels de Pendules, Barométres &c.; Foin sc.
XVIIe Cah[ier]. de l'Oeuvre de La Londe: Cahier de Bordures et de Corniches d'Appartement avec le retour au Plafond, et leurs Profils.; Foin sc. 
XVIIIe. Cah[ier]. de l'Oeuvre [de La Londe]: Cahier de Corniches et de Moulures pour Meubles et autres usages, avec leurs Profils, Foin sc.
XIXe. Cah[ier] de l'Oeuvre [de La Londe): Ouvrages d'Orfevrerie., De Saint-Morien sc. [missing plates 3 and 4]
XXe Cahier de l'Oeuvre [de La Londe]: Ouvrages d'Orfévrerie; De Saint-Morien sc.
XXIe. Cah[ier]. de l'Oeuvre [de La Londe]: Bijouterie; De Saint-Morien and Sélincart sc. [missing plates 2 and 6]
XXIIe. Cahier de l'Oeuvre [de La Londe]: Fragments d'Architecture.; De Saint-Morien sc.
XXIIIe. Cahier de l'Oeuvre [de La Londe]: Palastres ou dessus de Serrure avec Ornemens en Bronze.; De Saint-Morien sc.
XXIV Cah[ier] de l'Oeuvre [de La Londe]: 2eme. de Serrureries; De Saint-Morien sc.
XXVe. Cah[ier]. de l'Oeuvre [de La Londe]: 3eme. de Serrureries enrichies; De Saint-Morien sc.
XXVI Cah[ier]. de l'Oeuvre [de La Londe]: 4eme. de Serrureries enrichies; De Saint-Morien and Sélincart sc.
Wine Glass with Galloping Horse
David Wolff, Dutch, 1732–1798, 1780–1789
lead glass
drinking glass

Wineglass with ovoid bowl on a short stem. Light conical foot. The base of the bowl and the stem are cut in lozenge-shaped facets.

On the bowl a diamond stipple engraving of a galloping horse in a wooded, grassy landscape.
Pattern No. 375 Teaspoon with Geometric Enamel Handle
Gorham Manufacturing Company, Providence, Rhode Island, USA, founded 1818, ca. 1910
gold plated, silver, enamel
spoon

Gold plated silver spoon with oval bowl. Arched handle of swelling form, tapering to rounded terminal. Handle decorated with geometric enamel pattern, begining with light blue and white circle pattern on neck, followed by a black chevron pattern section, with remainder of handle decorated with central sinous line in navy enamel, surrounded on either side by light blue, orange, and white half-moon rosettes. Reverse of handle plain gold plated surface.
Design for an Altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

The sepulchrum in the shape of a sarcophagus, marked with "C", stands in the hollow "B" of the mensa. Beside are panels with a prelate's escutcheons; the left one is marked "B". The dividing console is twice marked "A". In the center of the altar furniture is the tabernacle, with the crucifix standing upon it. Beside it, at right, alternate three statuettes of saints with three candelabra. The mouldings of the furniture are marked at left from the bottom to the top: "A B C A D A".
Fragment
, 1750–1800
silk Technique: cut supplementary warp pile (velvet) in a woven foundation

Small-patterned or "miniature" velvet of cut pile in white with minute roses in pink, red and green. Center of each rose in voided ground cover with short floats of secondary white silk weft.
Fragments
, before 17th century
silk, metallic Technique: plain weave with complementary wefts

Reversible fabric with silver crescents on a blue ground.
St. Sebastian Fettered to a Tree
, 1800–1830
Red crayon, pen and brown ink on paper
Drawing

The head of the saint is sunk upon his breast without arrows.
Rooftops at Sunset from the Via Gregoriana, Rome
Frederic Edwin Church, American, 1826–1900, October 1868–May 1869
Brush and oil, graphite on off-white paperboard
Drawing

Architecture and landscape sketch showing a view overlooking Rome at sunset from the upper stories of the apartment in which Church and his family stayed, on the Via Gregoriana beside the Bibliotheca Hertziana. In the foreground, apartment buildings across the street are shown in shade with their multiple slanting rooves. The taller buildings at left and right frame a view of storefronts on what is likely the Via della Vite, in the middle distance at center. From there, the rooftops of the city congeal into an indistinct, purple-brown mass that extends to the horizon, where a vivid sunset takes place. Horizontal bands of clouds catch the vibrant sunset light as it transitions from golden yellow, along the horizon, to pinkish red higher in the sky. Patches of dark blue twilight sky are visible at upper right and left.
Plan d'une Salle de Concert
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Plan of a concert hall with spaces indicated for the orchestra, the parterre, the amphitheater, and the gallery. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
Sketches of Proportions of Classical Orders of Architecture
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Vertical sketches of the proportions of classical orders of architecture, with detailed notations.
Tororojiru Shop at Mariko from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1855
Woodblock print in colored ink on paper
Print

This station scene shows banners selling famous yam soup. On the left side is a man-eating just outside the shop. Two covered soldiers in the front, with their back behind us, are walking towards a man on horseback. The right side shows a mother carrying a baby and an older child behind her. As our eyes wander more in-depth into the image, there is a giant tree that echos the same shape of the mountain behind it.
Ossipee Mountain and Lake Winnipesaukee from Wolfeboro Neck, Looking Northwest
Daniel Huntington, American, 1816–1906, August 30, 1856
Graphite and black and white crayon on grey paper
Drawing

Inlet of lake with shore in foreground and mountains beyond.
Title Page
Lange, active 1730 – 1750, mid- 18th century
Etching and engraving on laid paper
Print

Title page for a series of ten plates. The title is lettered in the center within a cartouche of scrolling acanthus leaves, surrounded by six individual fleurons of flowers, leaves, fruit. The plate is signed.
Facade of a town house
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Facade of a town house.
Radiant Sun above Mountains
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil, graphite on off-white paperboard
Drawing

Landscape and atmosphere sketch showing a view of a radiant, gleaming sun just above a mountain range. A dark hillside with a few trees is visible in the foreground at lower right, descending from center right to lower center. Just beyond and below it at left, another wooded ridge is visible. Across an indeterminate middle distance, a mountain range with a rugged peak at center stretches across the horizon. Just above this peak at upper center, an extremely luminous, hot white sun radiates a bright glow onto the haze and banded, high clouds around it.
Earrings
, 19th century
Gilt, pearls, paste stones

A and B: Gilt earrings in the form of a human head wearing a turban set with paste diamonds and pearl earrings; at the bottom, a lead ornament set with red and green stones.  Ring at the bottom suggests a part may be missing.
Landscape with Mound
Charles Nicolas Ransonnette, French, 1793 - 1877, 1793–1877
Pen and ink, brush and watercolor on paper
Drawing

Landscape with mound.
Design for the ceiling of the salon of Palazzo Spinola, Genoa
Charles de Wailly, French, 1729 – 1798, 1776
Pen and black ink, brush and watercolor on white paper
Drawing

An oval central panel shows the Apotheosis of Ambrose Spinola, hero of the Battle of Breda. He is shown being born to heaven in a chariot. The remainder of the ceiling is divided into segmented panels with arabesques and putti as decoration. In the composition two medallions bear the Salon Spinola Execute a Genes." In the composition two medallions bear the initials of Ambrose Spinola and Cristoforo Spinola.
Fragment
, 17th century
silk Technique: supplementary warp forming raised pile in plain weave foundation (velvet)

Alternate red and white stripes with a white scrolling design on the red stripe.
Détails des Ponts du Jardin de St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with elevations, sectional views, and a plan for garden bridges with ornamental balustrades, urns, and sculpted sphinx. The plate is titled, signed, and numbered.
Bird
Robert Frederick Blum, American, 1857–1903, 1892
Pastel crayon on wove paper
Drawing

Recto: Sketch of a bird; Verso: Sketch of two figures dancing.
Mist in Rugged Mountains
Frederic Edwin Church, American, 1826–1900, June 1874
Graphite on tan wove paper; verso: graphite
Drawing

Landscape sketch showing a view of mist and clouds around an extremely sharp and craggy mountain range. While this scene was recorded in Hudson, New York (likely on the grounds of the artist's estate, Olana), these dramatic mountains almost certainly are not the Catskills. At lower right, a small but still sharp mountain is shown in the middle distance beside what appears to be a body of water. A low-lying bank of billowing mist rises behind this prominence and frames a view of a tall and craggy mountain range in the background. The range has numerous sharp peaks that rise and disappear into a dark bank of clouds at upper left. 

Verso: Landscape sketch showing a view of a mountain range at sunset. The ridge is outlined along the lower margin and is relatively flat without any dramatic, defining features. Layers of hazy clouds are variously lit by the setting sun in the sky above. At center left, a kind of vertical column formation of clouds is visible.
Trimming
, 18th century
silk Technique: woven

Red and tan trimming fragment in a checkerboard design arranged to form a red stripe between two yellow.
Design for the Decorations of Three Pilaster Strips
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

At left: a candelabrum in the scheme of a trophy, with a standard on top, is shown obliquely in the upper part. The central stem springs from a calyx between two birds. Center: a chain formed by wreaths hangs from a drapery festoon. A bird stands in each wreath. At right: a plant candelabrum rises above a base. An oblong is formed in teh center by the sitting figure of a goddess upon clouds. On top are two half-figures of children.
Profil du costé de la cour de l’Hostel de Liancourt
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural exterior elevation with section views of interiors and a floor plan below of a Parisian Hôtel particulier (grand house). The façade features three floors with horizontal banded rustication, windows framed by pilasters, dormer windows with cartouches, vase finials, and friezes. A scale below. The plate is titled and signed.
Design for the Embroidery of a Man's Waistcoat
, 1790–1800
Graphite, brush and watercolor on paper
Drawing

Lower left section of a waistcoat. Below the pocket, a symmetrical motif, with a flower at the center. Sprays of flowers and leaves along the border. Floral design on pocket indicated in outline.
Détails des Maisons No. 1. 2. 3. & 4
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating architectural details including columns, friezes, balustrades, and door, featuring neoclassical motifs. The plate is titled, numbered, and signed.
Trophy with Leaves, Scrollwork, Laurel Crowns, and a Portrait Medallion
Henri Sallembier, French, ca. 1753 - 1820, ca. 1753–1820
Engraving on paper
Print

Trophy with Leaves, Scrollwork, Laurel Crowns, and a Portrait Medallion.
Landscape and Architecture Sketches, Mexico
Frederic Edwin Church, American, 1826–1900, 1892-93
Graphite on light brown wove paper
Drawing

Landscape and architecture sketches showing views of buildings and mountains in Mexico. At upper left, two sketches of domes are visible--one ribbed, and one smooth. At upper center, a long, horizontal building or wall is viewed from a distance. At lower center, a craggy, snow-capped mountain--possibly Iztaccihuatl--is hastily sketched, while at center right, the contour of a hill is shown with four figures climbing its slope.
Various works of art. The court of Palazzo Mattei in Rome
Felice Giani, Italian, 1758–1823, 1812–14
Brush and brown wash, pen and brown ink, black chalk on paper.
Drawing

Recto:  Right row:  Three Sibyls; inscription in ink "andrea/Pisano" and "sibille su/ le porte/ di S. Petro/ nio in/ Bologna/ del/ senese/ detto/ della/ fonte".  The Annunciation in half-figures; caption: "monu [mento] del 2 cento Bologna" Left row:  Roman sepulchral relief with three half figures; caption: "monumento nel corte del Sig Mattei Roma".  View of the court of Palazzo Mattei shown toward the rear:  caption: "Cortile del palazzo Mattei ornato de belissimi monumenti anitchi al uso/ di un museo Roma" God the Father and angels; Caption: "Lodovico Caracci Bologna" Left borrom corner: "87"; top center "150"

Verso: Head of a horse with half opened mouth, shown twice raised and in profile, twice lowered, and obliquely in two different directions.
Section of a Vestibule
, ca. 1790
Pen and ink, brush and watercolor on paper
drawing

The entrance is at left. Two folding doors flank a niche in which a statue of a classical woman stands. In oblong panel, with a rinceau beside a medallion serves as a frieze.
Band fragment
, 3rd–5th century
Warp; S-spun linen. Wefts; Z-spun linen, Z-spun wool. Technique: woven slit tapestry with supplementary weft wrapping.

Fragment of a band with purple nude figure and a vase at the bottom.
Stage Design: An Egyptian Structure
, 1775–1800
Pen and ink, brush and watercolor on paper
Drawing

A horizontal rectangle showing a large, flat roofed structure topped with statues of standing Egyptians. A view through a colonnaded entrance shows a fountain with an obelisk at center. Front steps are decorated with four lion sculptures on plinths.
Road in the Woods, Mexico
Frederic Edwin Church, American, 1826–1900, February–April 1889
Graphite on off-white wove paper; verso: graphite
Drawing

Landscape sketch showing a view of road through dense woods in Mexico. Situated at center, the road extends from the foreground into the middle distance--tapering as it goes--before curving out of sight. Masses of billowing vegetation made up of trees and bushes flank the road on either side. 

Verso: Landscape sketch showing a view of extremely rugged mountains in Mexico. Viewed across flat terrain that is heavily shaded in the middle distance, sharp mountain peaks rise abruptly. At center left, the two foremost peaks are cast in shadows, likely by unseen clouds above. At right, an immense, craggy mountain range extends obliquely into the background.
Handkerchief
, 1830s
cotton Technique: printed on plain weave

Terra cotta and black on a light tan ground with geometric design. Two edges hemmed.
Saint Matthew and an Angel
Felice Giani, Italian, 1758–1823, 1813–18
Pen and brown ink, brush and brown wash on paper
Drawing

On verso: architectural decorative studies
Box
, 19th century
Shaped tortoiseshell with silver inlay

Small, thin, elliptical-shaped tortoiseshell box, top lid split by metal hinge towards one end, allowing box to open. Top detailed with pattern of short diagonal lines
Band
, 17th century
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation

Band of embroidery in red silk on a white linen foundation; the background is embroidered with the figures reserved in plain cloth. Design of pelicans on urns with human-headed beasts on either side.
Distant View of the Royal Tombs, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 26, 1868
Graphite on gray-green wove paper
Drawing

Landscape and architecture sketch showing a distant view of the Royal Tombs in Petra, Jordan. In the foreground at left and right, rocky pinnacles and cliffsides frame a view of two of the Royal Tombs: the Palace Tomb, in the middle distance at center, and the Corinthian Tomb, beside it at right. Rolling, arid terrain intercedes between the rocky pinnacles and the tombs, which are carved into the rugged, red rock mountain that stretches across the middle distance. In the background, a taller and faintly rendered range of mountains backdrops the scene.
Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

A plate with four ornament designs featuring grotesques motifs. In the center a mask with scrolling foliage. The other three ornaments incorporate scrolling foliage, acanthus leaves, flowers, rosettes, and a terminal creature. The plate is signed and numbered.
Design for a Book Cover
Alice Cordelia Morse, American, 1863–1961, ca. 1887–1903
Brush and gouache on paper
Drawing

On yellow ground, cartouche with frame made up of curved lines in peach and gray, gold leaves and vines.
Standing Bedouin Figure
Frederic Edwin Church, American, 1826–1900, 1869 - 1870
Oil and graphite on paperboard
Drawing

Figure study of a mustached individual outfitted in Bedouin garments. Wearing a black robe, a yellow headdress, and red boots, the figure holds a pipe or flute in his right hand and looks out of frame to the right. The foreground consists of loosely-rendered dirt and rocks, while the background is an indistinct brown surface. Although wearing the flowing headdress and draped clothing of the Bedouin people, this individual is actually Benjamin Bellows Grant Stone, Church's neighbor who he dressed up to serve as a model.
Landscape
Giuseppe Zocchi, Italian, 1711 or 1717 - 1767, ca. 1750–1760
Etching on paper
Print

A hilly wooded landscape. Figures with farm animals in the foreground, one on horseback crossing a stream.
Sidewall
, 1775
Block-printed on handmade paper

Alternating motifs of fruit and flower clusters, and carved bracket supporting a man in Chinese costume; ground stippled and open space between larger motifs broken by festooned beads. Printed in colors on blue ground. Vertical rectangle of joined sheets of paper.
Frame with Crowned Mask
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740–68
Etching and engraving on paper
Bound print

Upright frame design for a mirror or painting, rectangular form, topped with a mask below an open crown; the base supported by two herms with armorial trophies at left and right.
Sampler
, 19th century
silk and linen embroidery, linen foundation Technique: satin, eyelet buttonhole, four-sided, long-armed cross, stem, herringbone, cross, double running, and aztec stitches on plain weave; edging of needle made looping

Numerals and assorted designs. The needle lace edging has several patterns including animals.
Textile fragment
, 19th century
silk Technique: plain compound weave

Design of conventionalized birds and dragons and flowers in secondary gold silk wefts on a deep blue ground.
Study for "Commerce," "Passing Commerce Pays Tribute to the Port of Cleveland," United States Custom House, Cleveland, OH
Kenyon Cox, American, 1856–1919, 1909
Graphite on paper
Drawing

Detailed sketch of a piece of drapery as it is caught by a shoulder strap. The paper is squared for transferring the image.
Arabesque Ornament Design
Charles Normand, French, 1765 – 1840, 1787–95
Etching on laid paper
Print

A vertical plate with arabesque ornament design featuring Neoclassical and Empire style motifs, mythological figures, and creatures, scrolling acanthus leaves and foliage, rosettes, masks, fleurons, flowers, fruit, winged horses, griffins, a lyre, lions, and a roundel with a nude female figure. The plate is signed and numbered.
Two Panel Designs
Bellay, French, active from 1734, ca.1734-49
Etching and engraving on laid paper
Print

Two designs for ornamental panels printed on the same plate, side-by-side. The designs feature rococo and chinoiserie motifs with ornately decorated frames featuring leaves, c-scrolls, feathers, ribbons, shells, rinceaux, fleurons, drapery, vases, bells, and birds. In the center of each panel are figures within fantastical landscapes. To the left, a figure seated next to a plinth with a dragon in the foreground. On the plinth is a vase with two snakes interlaced around it. Above, a platform stemming from the frame ornament, with a man seated cross-legged. To the right, a figure seated by some rocks fishing with a dragon biting at the line. In the foreground there is a platform with a vase and another vase on a plinth. The plate is numbered and signed.
Designs and Plans for Chairs
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two armchairs with the plans of the chair seats below. The chairs are decorated with ornament motifs including branches, drapery, and tassel. The plate is signed and numbered.
Hudson Valley at Sunset
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil on paperboard
Drawing

Landscape sketch of the Catskill Mountains and Hudson Valley at sunset. Above, clouds tinged in orange are suspended before the rich colored gradient of the twilight sky. Below, an inlet from the Hudson River comprises the foreground, where a row boat travels across its still surface at right. Tree trunk at lower left frames a view of the rugged Catskills in the background.
Standing Cup
Hans Olof Hellbom, active 1794–1819, 1818
silver
standing cup

Square openwork base on four ball feet. Domed foot, hourglass-shaped stem and bell-shaped cup decorated with engraved and stippled scenes of rabbit-hunting dogs among large flowers and foliage. On edge of cup repoussé band of vertical ovals.
The Personification of Justice and Peace
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown wash on paper
Drawing

Verso: three friezes
Embroidered picture
Nancy Bullocks, 1777
silk embroidery, cotton foundation Technique: cross, tent, satin, and stem stitches on plain weave

Woman holding basket of flowers, two tress, and strawberry border.
Portrait of Nancy Darling
Francis Hopkinson Smith, American, 1838–1915, September 9, 1876
Charcoal, brush and gouache on paper
Drawing

Portrait of Nancy Darling in a rocking chair in front of a cabin's open window.