biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Sedan Chair
, ca. 1775
Brush and yellow, brown, blue, purple, rose watercolors, pen and Chinese ink, black chalk on paper
Drawing

Shown in profile, turned toward right, with one bar. Pomegranates stand in the center and at the corners of the roof. Tassels hang at the upper corners. The panel beside the window shows a scroll rising from the lower right corner from which garlands hang and a medallion with the monogram, CF. The lower panels have above leaf scrolls; a spiral of the left one is in the lower left corner of the upper panel. From the ends of the scrolls garlands hang down, those from the inside ones are intertwined around the vertical molding framing the panels. The bar is decorated with rinceaux. The mountings are shown.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

The gray panel is decorated with vertical rows of rising waves, which are connected horizontally by petals. The waves consist of leaf boughs, and the petals are small sized, at left, of an indistinct material but great petals, at right. Rosettes between boughs, of different designs at left and at right, decorate the oblique low-pointed ovoids. A stem with alternate pairs of red and of vine leaves lies across the top; its upper part is shown against the gray background.
Developpement d'une Coupe de Bâtiment qui représente les tuyaux de Cheminée dévoyées
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Cross Section of a building showing the vent work of a fireplace. The plate is signed and numbered.
Architectural Sketches, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white wove paper; verso: graphite
drawing

Architecture sketches showing three views of buildings in Mexico. At upper left, a church with a dome and a tall, narrow belltower is shown from its side. Below it, at lower center, a terra cotta-tiled roof with a chimney is rendered in great detail. At center right, a mausoleum shaped like the circular drum of a dome is shown in detail. Its upper portion has several arched openings. 

Verso: Figure sketches from Mexico showing four figures in various positions, at various activities. Prominently featured at right, two men wearing ponchos and wide-brimmed hats (likely sombreros) obscure their faces as they are shown obliquely. At upper center, a figure wearing a hat appears to be slouched upon a doorway and its steps. At upper left, a figure kneels and washes clothes by a body of water. Finally, a separate sketch showing a bundle of charcoal is included at lower left.
Death of Adonis
Felice Giani, Italian, 1758–1823, 1813–18
Pen and ink, brush and brown wash on paper
Drawing

On verso: three architectural studies
Border
, ca. 1890
Machine-printed paper

Small fragment displaying two and one half bands set with conventional chrysanthemum flower, and foliage clusters. Printed in black, red and gold on orange ground.
Looking Southwest over the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1860–80
Graphite and oxidized white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the Catskill Mountains and the Hudson River Valley, looking southwest from artist's property in Hudson, New York. In the foreground, treetops on a hill are briefly visible at center left. In the distance at right, the southern end of the Catskill Escarpment forms a jagged horizon, with Overlook Mountain being the tallest peak at center right. At lower left, the Hudson River is shown snaking through the valley's rolling terrain. Above, puffy and wispy clouds intermingle in a brightly-lit late afternoon or sunset sky.

Verso: Incomplete figure sketch of sleeping cat curled into ball or circle (as felines often do). Its ears, nose, and eyes are clearly rendered while its body is only an outline.
chasuble
, mid-18th century
silk on silk Technique: embroidery

cut down from a larger panel.
Berline à Panneaux arazée
Jean-François Chopard, French, active 18th century, ca. 1750
Engraving on paper
Bound print

Plate 2, Folio 2 of a series of 13 prints of designs for carriages or coaches. Carriage decorated with rocaille motifs, shown in elevation, with details of the various parts at upper left and upper right. The body of the coach consists of a single painted panel featuring a chinoiserie scene of a figure smoking a pipe and holding a monkey in a garden landscape.
Design for an Ovoidal Painting: Strength
Giacomo Zampa, Italian, 1731 - 1808, ca. 1780
Black chalk, pen and ink, brush and sepia wash, brush and oxidized white gouache on brown paper
Drawing

A seated woman in armor carries shield, lance, and a laurel branch. Ovoid, caption, signature similar to those in 1931-65-50, except for "Fortezza", "4". On verso: a part of the head and of the thorax of a bearded man, bending forward in black crayon.
Salon de treillage du petit Bois de Sceaux (Left Plate)
Adam Perelle, French, 1638 – 1695, 1674–1683
Etching on laid paper
Print

Two plates printed on the same sheet, side by side with views of garden details at Sceaux. Both illustrate trellis/ lattice arches decorated with ornamental details, pilasters, panels, and finials. Groves (bosquets) visible beyond with a fountain in the right plate. Figures seated on the ground and on benches in the foreground and walking throughout. The plates are titled.
Textile fragment
, ca. 400
wool, cotton Technique: interlocked tapestry, minor use of non-horizontal wefts

Two fragments of very fine tapestry weave with cotton warps and wool wefts. B) Lozenge repeat in eccentric tapestry in red, blue, black, brown and tan.
Fragment
, 8th–9th century
silk Technique: 2/1 twill with complementary wefts and inner warps (samite)

Checkerboard of medium-sized green and yellow X-shaped geometric figures and dark blue eight-pointed stars with deep ivory upright ovals centered in each star enclosing in alternate rows yellow palmettes and yellow cocks in profile. Stars bear small deep ivory heart-shaped ornament in each point. X-shaped geometric figures, outlined in yellow with pointed ends, contain herringbone hatching of green and yellow bands of varying widths in each arm and in the center of the figure a yellow fleuron outlined in green and dark blue, from which radiates through each arm a yellow axial stripe terminating short of end of arm in yellow and green heart-shaped figure outlined in dark blue.
Textile
, late 18th century
silk Technique: plain compound weave

Tan horizontally ribbed ground. Small-scale allover repeat, in rose and yellow, of diagonally crossing lacy bands forming lozenges and blossoms in the center of each lozenge.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design with a two- handled with sprouting sheaves of wheat, winged anguipeds and a winged-headed mascaron, drapery, garlands, and a medallion on antique inspiration, and scrolling acanthus leaves.
Distant View of Sangay Volcano Erupting, Ecuador
Frederic Edwin Church, American, 1826–1900, 1857–62
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape and atmosphere sketch showing a view of rugged terrain with the volcano Sangay erupting in the distance. A mountainside in the foreground at right descends into the center of the composition, where it meets another rocky prominence in the foreground at left. In the distance, Sangay erupts and spews smoke and debris into the sky, mixing with the clouds, and producing a tumultuous atmosphere. Framing lines surround the image.
Cupboard
Giuseppe Barberi, Italian, 1746–1809, 1790–1810
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

View of a case furniture on lion feet. Panels on side decorated with the suggestion of candelabrum. Two sculptural figures and one bust at center. Writing at left and right.
Chandelier simple
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a simple candlestick decorated with fluting, acanthus leaf, bound leaf, and ribbon twist. The plate is signed.
Alcove with a Bed
Jean Le Pautre, French, 1618–1682, 1650–52
Etching on laid paper
Print

A design for an alcove with a highly ornate bed in the center. The bedframe is sculpted with scrolling foliage and festoons of fruit and flowers. The feet are in the shape of lion paws. The headboard features a roundel profile portrait. The crown of the canopy resembles a Turkish-style tent with a scale pattern and feather finial. The bed curtains are drawn back and hang over herm figure columns. The back wall features a tapestry and intricately carved cornice. The bed is on a stepped platform and the alcove is set within a porch, with no side walls, open onto to the landscape or this is an illusion with landscape tapestries on each internal wall.
Band
, 16th century
silk on linen Technique: counted stitch, double running and running (darning) stitch embroidery on plain weave; long end of a wrapping stitch used for fringe

Band with a red embroidered design of angular lines forming hexagons and conventionalized leaves. Border, fringe and edging in red silk.
Watch key
, late 19th century
Gold, topaz

Gold watch key, ornamented in leaf design; topaz in top.
Pendant Design
Hans Collaert the Elder, Flemish, ca. 1530 - 1581, 1582
Engraving on paper
Print

A pendant in the form of a mythical beast perched on a strapwork base is suspended from a bow knot. The base is composed of faceted gems, a mask and winged goat, and is hung with three drop pearls. Riding on the monster's back is a male figure holding a trident and two nudes with shells. The plate is numbered.
Studies for Four Statues and Seven Masks
Felice Giani, Italian, 1758–1823, ca. 1800–25
Pen and dark brown ink, brush and brown wash on cream laid paper Support: cream laid paper, lined and laid down
Drawing

Sheet divided roughly into upper and lower parts. Upper part includes studies of four full-length sculptured figures, each labelled by name, proceding from left to right: Diana; 2 views of Ceres; Flora. Seven grotesque masks are arrayed horizontally across bottom part of sheet.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Two vases side by side, both with rounded bellies. The vase on the left has two snakes that attach from the body to the lip that form handles. The body of the vase is decorated with acanthus leaves and has a wreath of roses. The vase is elevated on a low socle. The vase on the right has a tall neck with a garland draped across it. The body of the vase is decorated with acanthus leaves. The foot of the vase is tapered and appears attached to the socle. The plate is numbered.
Calice
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a chalice decorated with ornament motifs including cherub heads, scallops, and scrolls. The plate is signed and numbered.
Decorative Studies; Verso: Anatomical Studies of Animals and Male Heads
Felice Giani, Italian, 1758–1823, 1814–18
Pen and ink over graphite on cream laid paper
Drawing

Five candelabra; fountain with putti; bronze door; man seated under base of church; Verso: head of horse; head of barbarian and head of man in profile from the antique.
Leaf and Floral Cartouche Design
Alexis Peyrotte, French, 1699–1769, 1749–61
Etching on laid paper
Print

First plate, from a series of six designs for rococo ornament by Peyrotte. A large cartouche made up of acanthus leaves, twigs, branches, and berries, with shell and s-scroll motifs, framing what resembles a painter's palette with a bunch of paint brushes through the two holes of the palette at an angle to the right side. The plate is trimmed and pasted onto the album page. It is titled, signed, and numbered.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed side-by-side on a single sheet. The designs feature putti (the two on the right plate are blindfolded), flaming torches, a vase, plinths, cartouches with figures, mask (mascaron), birds, shell, foliate branches, festoons of leaves, ribbons, fish scale pattern, foliate scrolls, and scrolling leaves (rinceaux). The plates are signed and numbered.
LE DAMIER
Charles-Germain de Saint-Aubin, French, 1721–1786, 1753-1757
Etching on laid paper
Print

Vignette of two butterflies playing checkers in front of a folding screen. The composition is staged on a rocaille platform of scalloped scrolls, with flowers and ivy. The title, "Le Damier," is printed below the platform. The plate is not signed or numbered.
Col. Dwight Inspecting His Regiment
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Horizontal view of officers and faintly indicated lines of soldiers.
Elévation côté de l’Entrée de la Maison de plaisance, appelé le Temple du Silence
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating two exterior elevations with views of the side and entrance facades with trees in the background, featuring neoclassical motifs, columns, entablature, pediment, friezes, statues, and sculptures. The plate is titled, numbered, and signed.
Meeting of Toréadors
Victor Vincent Adam, French, 1801 – 1866, 1833-1837
Pen and ink, brush and wash, graphite on paper
Drawing

Vignette of a man standing at left, a rifle in his right hand, festuring with his other hand toward another man on horseback facing him.
Landscape in Mexico
Frederic Edwin Church, American, 1826–1900, February 25, 1890
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of hills across a wide plain in Mexico. Loosely rendered stones and rocks are visible in the immediate foreground at lower center, while a flat, grassy plain extends across the middle distance. In the background, the surface of a lake is surrounded by rolling ranges of hills and mountains. Multiple rugged peaks are visible along the horizon at right.
Pendant
, ca. 1870
Gold, blue and white enamel, carbuncle garnet, rose diamonds, and eight half pearls (hollow gold)

Face of locket shows a cabochon carbuncle garnet surrounded by an ornamental gold border with blue and white enamel, rose diamonds,and half pearls; below it is a pointed pendant; above it, a scroll-shaped gold ornament with white enamel, and above that a gold ring. At the back of the locket is a removable section of glass set in a gold rim.
Black Forest Sketches
Whitney Warren Jr., American, 1864–1943, September 18, 1887
Graphite, on cream wove paper tipped into binding with fabric
Album page

Vertical sheet with frayed bottom and right edge.  Illustrated are sketches of buildings and architectural features.  Beginning from top left are two domed steeples, both with shingled onion-shaped cupolas and tall finials. At right is an elevation of a timbered building with a large, deep gable on both stories which shade open windows with shutters.  In the center is a very small sketch of a dormer within a shingled or tiled roof.  At lower left is likely the same gabled building sketched on the  upper half of the sheet, but now viewed from a corner angle, the gables supported by very large timbers which the artist identifies as being "at least 3 ft."  At lower right is a very quickly sketched tiled or shingled roof with an awkwardly oversize "bell" cupola, as it is named by the artist.  The cupola projects from the roof on a very thin support, and balloons above it.  The cupola is shingled, and terminates in a small ball finial with weathervane.
Sketches of Sheep and a Ram, Colombia or Ecuador
Frederic Edwin Church, American, 1826–1900, 1853
Graphite, brush and white gouache and oxidized white gouache on brown wove paper
Drawing

Figure sketches showing several views of a sheep and a goat. At upper right, the face of a goat or ram is shown frontally. Below, the hind quarters of a sheep are viewed obliquely and partially rendered. At center, a fully-rendered sheep stands in profile, its coat partially rendered in white gouache. At lower left, two views of a sheep's head are shown frontally and in profile.
Monument of King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-whtie laid paper
Drawing

A variation of 1938-88-1301, having curved walls at the corners, stressing the height and with somewhat less details. The front is laterally not subdivided and without festoons.
Horseshoe Falls from the Canadian Side, Niagara Falls, Canada
Frederic Edwin Church, American, 1826–1900, 1856
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of Horseshoe Falls from the Canadian bank of the Niagara River. Loosely rendered, the falls stretch horizontally across the composition and kick up plumes of mist from the river below. The Terrapin Tower is visible along the edge of the falls at left, while the river's churning water comprises the foreground.
Sidewall
, ca. 1700
Leather, embossed, painted, silvered

a) A bird perched on a flower, with a worm in its mouth. Above is a bunch of grapes.
Man
Robert Frederick Blum, American, 1857–1903, 1876–1877
Graphite on wove paper
Drawing

Sketch of a male figure dressed in a uniform with long waistcoat and short pants.
Ornamental Vase Design
Louis Doré, French, active 18th century, 1750-1800
Etching on laid paper
Print

Lidded vase design with pinecone finial and sirens reclining on either side of the shoulder of the vase. The lid of the vase has a lozenge pattern and spiraling fluting. Between the sirens is a portrait medallion, over which is draped a garland that the sirens hold on to. The vase has gadrooning at the base and a tapered foot. The plate is signed and numbered.
Fragment
, 5th–8th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wools Technique: supplementary weft loops (wool) in plain weave linen ground

Oblong with polychrome weft loops forming geometric pattern.
Figure
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of figure.; Detail of bent arm with a fist.
Washington Irving's Library at Sunnyside
Daniel Huntington, American, 1816–1906, March 16, 1860
Graphite, brush and white gouache on grey/green wove paper
Drawing

A library with a desk in the center and a chair to the right, before windows and bookshelves.
Fragments
, 15th century
silk Technique: cut supplementary warp pile in a 4/1 satin foundation (velvet) Label: Silk cut velvet

Green voided velvet of the ferronerie type with a design of curling leaves and a five-petaled flower.
The Death of Viginia, Daughter of Marcus Claudius
Francesco Solimena, Italian, 1657–1747, ca. 1700
Brush and gray wash, pen and ink, black chalk on paper
Drawing

Figural scene. At right, the group of Appius and Marcus Claudius.  In the center, Virginia dying at the feet of her father.  In the fore-and- background at left, excited people and soldiers.
Fragment
, 18th century
silk Technique: printed and painted silk

The fragments of 1906-21-45-a,b,c and 1906-21-48-a,b have been sewn together to fragments 1906-21-33-a,b to form one panel.
Design for Fireplace Mantel Decoration
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a fireplace with a mantel on which sits two tall vases with flowers. The fireplace is decorated with ornament motifs including fluting, scroll, garland, branches, and bead course. The plate is signed.
Border
, 17th century
silk and linen Technique: brocatelle

Horizontal border with a tassel motif. In red and yellow.
Design for a Window Frame
Carlo Marchionni, Italian, 1702–1786, 1750–60
Pen and brown ink, brush and gray wash, graphite on off-white laid paper
Drawing

Below is a dado, with an oblong panel between volutes. An escutcheon with three lilies is on top of the molded frame of the opening. Pilasters and pilaster strips support the entablature and the triangular pediment. A flying dove is shown in the field.
National Theater, New York
R. Bengough, 1837–1839
Lithograph with black ink on paper
Print

Horizontal rectangle. Straight view at the theater, which is flanked at left by a street. Carriages and people are shown. Caption: Day + Haghe, lith 17. Gate St., London from a drawing by R. Bengough / NATIONAL THEATRE / NEW YORK J[ames] W[illiam] WALLACK ESQR LESSER.
Title Page and Arabesque Panel Design
Juste-François Boucher, French, 1736 – 1782, 1775–88
Etching on paper
Print

Title page and arabesque panel design featuring a central flowering vase or urn decorated with a frieze of figures and gadrooning motifs. The vase sits on a base and is framed by scrolling leaves, festoons of leaves, rosettes, female figures with baskets of flowers above their heads, and a medallion above with a seated female figure. The plate is numbered.
Project for a Lighting Fixture
, 1820–1835
Graphite on paper
Drawing

Lion paw feet. Above this, a plinth with rams' heads and a swag. Column entirely covered in curling leaves. At top, long-necked birds surround a spiraling column.
Brooch
, mid-19th century
Carved shell, gold

Shell cameo (white on brown) representing Apollo and Chiron, surrounded by a gold frame in design of scrolls with leaves and flowers.
Doorway of San Salvatore in Lauro with Decoration for the Funeral of King Frederick August III of Poland, Rome, Italy
Carlo Marchionni, Italian, 1702–1786, 1763–64
Brush and gray wash, graphite; border and inscription in pen and brown ink on off-white laid paper
Drawing

Design for a doorway with figures and dogs. Upon pediment the royal coat of arms. At left, allegorical figure of History or Fame, a winged female with a trumpet, tries to drive away Time, a woman with a skull-like face, who holds a mace in her left hand and supports the crown with her right hand. Garlands and drapery festoons hang on pediment and door frame. A grand curtain hangs down from the ceiling, falling behind the coat of arms. In doorway, a monk and a gentleman. Six dogs are on steps and street. On each side of the doorway, pairs of men. In graphite, one thin framing line.
Sampler
, early 19th century
linen and silk embroidery, linen foundation Technique: overcast bars, loops and darning stitches on plain weave

Eight cross borders in floral and geometric designs.
Mixed Studies near the Pool of Bethesda, Jerusalem, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February or March 1868
Graphite on white wove paper
Drawing

Mixed studies showing views of giures, architectural details, and a flag. At left, twelve partial and complete figure sketches of individuals in draped clothing are visible. At upper right, a window, a bay window, and a domed roof are shown. A flag, apparently emblazoned with Arabic script, is sketched at lower right.
Ornamental Design from Nouvelle suite de cahiers chinois a l'usage des dessinateurs et des peintres No.3, (New Suite of Chinese Ornament for the Use of Designers and Painters)
Jean-Baptiste Pillement, French, 1728–1808, after 1775
Etching à la poupée on off-white laid paper
Print

Fantasy three-level Chinoiserie bridge floating in empty space.  Chinois figure in pointed hat sits on steps in lower center, above him three bridges leading to arched doorways.  Architecture elements surrounded by foliage and trees.
Design for a Candlestick
Luigi Righetti, Italian, 1780 - 1819, ca. 1820
Pen and ink, brush and sepia wash, yellow and gray watercolor, graphite on paper
Drawing

Vertical rectangle. At bottom, a base with two kneeling angels supporting a cloth, on top of which stands a second base, on which seated griffons holding garlands support the shaft; between them the coat of arms of Pope Pius VII (1800-1823). The shaft consists of two pieces of fluted and foliated columns with a caryatid. Wings are slightly sketched in graphite at the caryatid's shoulders; a garland is wound around her above the socket with the candle.