biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Candlestick
George E Germer, 1868 – 1936, ca. 1933
Graphite, black crayon, brush and white gouache on cream paper
Drawing

Each is signed below at right: G. E. Germer, Des. In "c" the name George is given in full. Each bears below at right the letter A to E, respectively. Stumps of candles are shown. The designs are framed by lines at left, above and partially at right.
Ornament Designs
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Ornament designs featuring grotesque motifs: a flying putto holding a quiver of arrows, profile portrait bust of a woman wearing a helmet with a mascaron (mask) and dragon, shield in the lower right, and a male sphynx holding a vase with a tail morphing into scrolling leaves (rinceaux), foliate scrolls, fleurons, and a snake.
Rank badge
, 18th century
silk and metallic yarns Technique: Pekin stitch and couching on satin weave ground

Mandarin square (P'u tzu) for civil official of the eighth rank.  Embroidery in colored silks and gold thread shows quail against a golden sky, with cloud and water forms and auspicious symbols. Lined with blue silk.
Sketches of Trees
Samuel Colman, American, 1832–1920, April 27, 1898
Graphite on Paper.
Drawing

Vertical rectangle.  Obverse: A wood with a beech tree in the foreground on hilly ground.  Reverse, horizontally:  trees at the edge of the wood are shown at left, a hillside with a meadow and a group of trees in the background, at right.
Visiting a Temple
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This print shows a stream of people exiting and entering a temple. Men, women, and children all visit for the new year as well as other times throughout the year. Since Hiroshige is known for adding flare and contorting the truth, it is unclear as to what season it might be.
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, flowers, drapery, canopies, a dragon, leafy, branches, vases, and birds. In the center of each panel are figures within fantastical landscapes. To the left, a figure sits on the frame, a bird in front of him with buildings, a bridge, and a tree in the background. To the right, a woman stands behind a short garden wall / balustrade with a vase, and tall lantern-type structures in the background, a man sits in the foreground facing the woman, water between them. The plate is numbered and signed.
Plan et Elévation d'un Salon du côté de la Cheminée
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Divided plan and elevation of a living room with a fireplace at center. The fireplace features ornament motifs including fluting, rosettes, and acanthus leaves. Above the mantle is a mirror with a bound reed frame with elements of garland and egg and dart above. On either side of the fireplace is a door. The left door frame features ornament motifs including rosettes and an overdoor relief with trophy of attributes of war (shield, flags, helmet, quiver). The right door features ornament motifs including guilloche of branches, rosettes in rondels, wave pattern, and an overdoor relief with cornucopia and a rondel with a scene from antiquity. The plate is signed.
Sketch for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on brown paper
Drawing

Three-quarter view of a seated male nude, the head being shown almost from the front.
Fragment
, before 16th century
cotton Technique: discontinuous and interlocked warps and wefts

Fragment of mummy cloth.
Cotopaxi between Machachi and Talunga, Ecuador
Frederic Edwin Church, American, 1826–1900, June 19, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing view of the volcano Cotopaxi between the towns of Machachi and Latacunga in Ecuador. An elevated plain with sporatic foliage and ravines stretches from foreground into the distance, where it meets the hills surrounding Cotopaxi. The base of the volcano looms above, and is only partially completed.
A Street in a Town
Eugène Edouard Soulès, French, 1811–1876, ca. 1840
Graphite on paper
Drawing

It leads to a church in the rear. Outlined frame.
Study for a Portrait of Albert Gallatin, Seated
Daniel Huntington, American, 1816–1906, 1899
Graphite on gray-green wove paper, with white heightening on verso
Drawing

Man with head turned to the left, seated at a table, with his arm resting on papers. Verso: Study of a woman's right hand.
Border
, ca. 1805
Block printed on handmade paper

Horizontal rectangle. Border paper with eight units of a floral design suggestive of Indian embroidery. Narrow figured band across top of paper, and wider figured band across bottom.
Repeating Pattern Designs for Borders
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Six horizontal designs for ornamental borders featuring arabesque motifs. The designs include repeating patterns of arrows, festoons of flowers, leaves, rosettes, fleurons, flowers, fruit, beads, ribbons, cartouches, and birds. The plate is numbered and signed.
Cartouche with Crown and Dolphins
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank symmetrical rocaille cartouche framed with a large crown and two dolphins at top. Bordering vegetal decoration.
Study for The Creation of Light, Plate 3, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey, black wash, white goauche, pen and brown ink on cream laid paper
Drawing

Scene depicting the creation of light, featuring a sun with extended rays shining down from the top right corner. The sunlight is breaking apart the multitude of grey clouds, which appear in front of a large circular structure, possibly representing earth. A small circular structure appears in the lower left corner.
Medallion
, 3rd–4th century
Warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary wrapping

Circle with mosaic pattern in the center and a floral border.
Eight designs for altar mensae
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash
Drawing

First row: two left sides; at left: similar to -1368, with the lateral part receding and decorated with a panel; at right: similar to -1368, with one front panel, the cross being framed by crossed branches. Second row: similar to -1368, the cross being without a frame, in the free space between the two panels. Third row: a left corner part. The part outside is curved and the support of the cornices is a gaine with a cherub. The beginning of the main part is similar to the project in the second row, with an enriched decoration of the projecting part. Fourth row: at left: the left half, similar to the first row, right; the cross being framed by a circle, a console with a festoon taking the place of the triglyph, and a similar motif seen in profile, added laterally. At right: a variation of the first row, at right, the cross being framed by a wreath of branches, and with a pillar tapered towards the base and having a kind of a capital in the place of the lateral panel. Lowest row: at left: a part of the left half; a variation of the project in the second row, with a rectangle at the front. At right: the left half. Mouldings frame, above and below, the front. The corner is bevelled and in front of the oblique side stands a console. Usual background. The corner is bevelled and in front of the oblique side stands a console. Usual background.
Distant Views of a Wooded Hill, Catskill, New York
Frederic Edwin Church, American, 1826–1900, June 1844 - June 1846
Graphite on tan wove paper
Drawing

Landscape sketch showing two nearly identical views of rolling, wooded terrain in or near Catskill, New York, stacked on top of each other. In both views, a small building is nestled on the edge of a clearing at right, backdropped by a round hill--the tallest point in the scene. An expansive rolling landscape continues at left into the background. The uppermost drawing is darker.
LE MARAIS D’EAU
Adam Perelle, French, 1638 – 1695, 1671–1703
Etching on laid paper
Print

A view of a large water display within the gardens at Versailles. In the center there is a square basin with a large fountain in the form of an oak tree with jets of water emanating from its branches, below sculpted shrubbery, and swans with jets of water. On either side are buffets with vases and jets of water on each level. The whole is framed by groves with wrought-iron gates. Figures (courtiers) throughout. The plate is titled with a description.
Competition Design for La Fenice, Venice: Longitudinal section of the Salon
D. Cerato, Italian, 1788
Pen and black ink, brush and gray wash, watercolor, graphite on cream laid paper
Drawing

Longitudinal cross-section of the theater in shades of pink (showing structural supports), gray and yellow (roof). Large main chamber has ceiling with rounded, coved corners and a central balcony above a doorway. Right third of section shows six rooms, the top one with an arched door.
Bag
, 1820–40
silk and metal thread embroidery, gilt wire, gilt spangles, silk foundation, Technique: embroidered in stem, satin and running stitches and couching on plain weave

Lady's bag in brown silk, ornamented with embroidery in design of bird perched on an ivy branch on one side and a basket of flowers on the other. Embroidered in polychrome silks with gilt strips, metal-wrapped silk-core threads, gilt coils and spangles. Linen lining.
Illustration for the Poem ‘Hymn to Adversity’
Thomas Gray, British, 1716 – 1771, 1753
Etching on laid paper
Bound print

Full-page illustration for the poem ‘Hymn to Adversity'. A male figure seated in clouds above a boy and a woman, holding chains under her arm. In the foreground, the right, an eagle holding a lightning bolt in its talons. The scene is framed by a herm of Athena wearing armor and a shield with Medusa's head to the left and to the right a herm of Hercules, wearing the lion's skin and holding a club. The two figures are draped by a fabric and each hold onto a crown of laurel leaves in the upper center. Below each herm is a ram's head.
Frame for small devotional picture
Giuseppe Barberi, Italian, 1746–1809, 1773-1774
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A framed representation, most of the upper edge being circular. Three angels support an oval wreath as a frame for a small picture. It is surrounded by a glory of rays and cherubim. Below are four angels upon clouds and most of them revering. A garland is on top of the upper part of the frame. Usual background.
Buttons
, late 18th century
copper

1931-59-221-a/c,e/p: flat circular buttons ornamented with engraving an...
Oak Wood, Montauk, New York
Samuel Colman, American, 1832–1920, September 8, 1880
Recto and verso: Graphite, pen and brown ink, brush and watercolor and white gouache on gray-green wove paper
Drawing

Recto: Horizontal view of two oak trees appearing in a hilly foreground, one on right gnarled and savaged by age in contrast to one on left which stands erect and in full bloom. In distance are additional trees indicated by hastily shaded forms.
Verso: Horizontal view of an enormous oak tree rising in central middle distance, in a vale between two wooded hillsides.  Bushes grow around it.  A road is shown in left foreground.
Ornament Panel
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1770
Pen and brown ink, brush and ink wash, graphite on paper
Drawing

A standing nude female figure on whose head is a basket supporting two standing lovers. A single swag at the top. The central figure is accompanied by two putti, and below, are five others, three of which float in the sky and carry a garland.
Title Page
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Etching and engraving on laid paper
Print

Title page from a series of twelve allegorical vignettes representing the arts and sciences. The title and publisher's address are lettered in the center, framed by a garden trellis with flowers, grapes, and vine leaves. Below a base with a large basket of flowers, with festoons of flowers and fruit hanging over the edge. Fruit on either side with two small vases of flowers. Acanthus leaf scrolls on either side with a roundel portrait of an angel writing on a tablet in the center, flanking the base. The plate is signed.
Design for a Window Frame
Carlo Marchionni, Italian, 1702–1786, 1730–60
Pen and black ink, brush and gray wash on off-white laid paper
Drawing

A balustrade is beneath the window opening. It is flanked by pedestals supporting pilaster strips and embedded columns. On top are an entablature and a circular pediment with a helmet, with mantling in the field. The plan of the window case is below at the left. Scale at bottom: "Scala di Plmi 10 = Romani."
Design for a Ceiling
, ca. 1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

Ceiling divided into panels with moulded frames and painted decoration. A portion of the octagonal center panel is shown, bordered with swags and bowknots. Below this, an X-shaped panel with grotesques and a medallion at the center showing a winged figure. On either side of this are rinceaux panels. At lower right, a grotesque.
Design for a Wall Decoration
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Pastel on paper
Drawing

A woman is shown from the front, standing and leaning with her left arm upon a book, which lies upon a sculptural reading desk.
Botanical Sketches with a House, Colombia
Frederic Edwin Church, American, 1826–1900, May–October 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing four views of trees and vegetation in Colombia, as well as a view of house. Likely a view along the Magdalena River, the sketch at upper right shows multiple trees and dense shoreline vegetation reflected in water below. At upper right, three vine-covered trees grow out of a mass of billowing vegetation. At lower left, a single tree with slender branches is clearly rendered, while at lower right, an indistinct mass of hanging vegetation is shown. At lower center, a thatched hut is viewed from a distance and surrounded by shadow.
Sécrétaire à la Provençale
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Desk with drop leaf, decorated with ornament motifs including a central rosette, fluting, lamb tongue, and crossed branches. The plate is signed.
Saint Hubert
, 1700–1750
Black and red crayon on paper
Drawing

The saint kneels before a stag who appears in the woods. At right, a horse.
Scrapbook of textile swatches
, 1899–1901
paper, silk

Large book of samples of silk ribbons. Bound in gray cloth. Samples are secured to the pages using white round stickers. Stickers marked with a "D" are domestic manufacture.
Portrait of Pope Pius VIII (1829-1830)
, ca. 1820-1830
Engraving on paper
Print

Half-length portrait of the seated Pope in three-quarter view to right. Enframed in a circular frame, below coat-of-arms of the Pope. A fragment of a series.
La Musique
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on laid paper
Print

Within a double-lined frame, an ornamental trophy of musical instruments and sheets of music hanging from a cord or textile, intertwined with foliate branches. The plate is titled, signed, and numbered
Four fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Four fenders.
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

The lower part is a variation of 1938-88-1294. Above the inscribed panel is the sarcophagus cresting in front of a base. The shaft of the round pedestal is decorated above with festoons. The entablature has a frieze with triglyphs. On top similar to 1938-88-1322.
Neptune and Amphitrite
, 1810–1830
Pen and brown ink, brush and brown wash, traces of graphite on off-white pape, lined
Drawing

Neptune and Amphitrite, both lean upon swimming dolphins, whose reigns Neptune holds in his right hands. The left hand holds a trident aloft.
Dish, from a "Topographical" Dinner or Dessert Service ("A Vedute")
Doccia Porcelain Factory, Italian, established 1735, ca. 1810–1820
hard paste porcelain, vitreous enamel, gold
dish

1938-57-446/450: Asymetrical ovoid dish with scalloped rim, scrolle...;     1938-57-446-a: Asymetrical ovoid dish with scalloped rim, scrolle...
Portrait of Clement XIV (1769-1774)
Jac. Mecorus, ca. 1770
Engraving on paper
Print

Bust-length portrait in three-quarter view towards left. In an oval frame with the papal coat-of-arms at upper left. Below the frame an inscribed plaquette.
Grotesque Design
, early 17th century
Charcoal, pen and bistre, brush and watercolor on paper
Drawing

Strapwork with winged figures and putti frames a blank rectangular and oval panels.
Charpente du Feu d'Artifice, plan et élévation (Structure for Fireworks, Plan and Elevation), plate 117, in Oeuvres de Juste-Aurèle Meissonnier (Works of Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Engraving on white laid paper
Print

Plan and elevation of design.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page, with text printed in the center of a monumental structure with statuary flanking either side, sited in front of a classically inspired building. The right plate has two large candlesticks. The left one is divided, offering variations on the form, and features a grotesque dolphin at the base. The right candlestick features ornamental motifs including egg and dart, acanthus leaves, lion heads, a mascaron, scrolls, garlands, and a lozenge pattern with inset stars and rosettes. The plates are signed and numbered.
Rocaille Ornament Design
François-Thomas Mondon, French, 1709 – 1755, after 1736
Etching on laid paper
Print

A print from a series of seven designs for rococo ornament, cartouches and vignettes of figures and rocaille motifs. A cartouche within a fantastical architectural structure featuring acanthus leaves, c-scrolls, rocaille, rosettes, shell, and beading motifs with a draped textile from a pole within a landscape with a palm tree in the background, foliage in the foreground, and a lion sitting on the frame, with a bow and quiver with arrows and a feathered turban. The plate is signed with an address.
La Brouette
Charles-Germain de Saint-Aubin, French, 1721–1786, 1753-1757
Etching on laid paper
Bound print

Scene depicting two butterflies transporting another butterfly in a wheelbarrow. The butterfly in back pushes the wheelbarrow, while the one in front pulls them. The area below the ground they are on is exposed, showing plants and roots, and the words "LA BROUETTE" are printed in black at bottom center. The plate is not signed or numbered.
Sketches for an Altar
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, brush and brown wash, graphite, gray ink, on off-white laid paper
Drawing

Upon a classical pediment stands a temple-like domed structure. Below a cupola supported by columns and crowned with a trident, is a statue of a deity. Surrounding this sketch are studies for the separate elements of the altar: the cupola, the supporting columns, and the candelabra-shaped pinnacle.
Soldiers or Workers in Landscape
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Pen and ink, brush and sepia wash on paper
Drawing

Solders or workers in landscape.
Fragment
, 18th century
silk on silk Technique: embroidery on plain weave

Irregularly shaped fragment with a polychrome floral spray; off-white ground with yellow blossoms and shoots.
Sincholagua, Morning, from the Panecillo in Quito, Ecuador
Frederic Edwin Church, American, 1826–1900, June 24, 1857
Graphite, brush and white gouache on tan wove paper
Drawing

Landscape sketch of two snow-capped peaks north of Quito, Ecuador, as viewed from the Panecillo. At top, a mountain is crowned and surrounded by clouds of various types. In lower portion, the snowy, sharp peak of the mountain Sincholagua is visible. Snow and clouds are rendered in white gouache.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of a doorway in Venice.
Bullfighter, Spain
Robert Frederick Blum, American, 1857–1903, 1883
Graphite on wove paper
Drawing

Recto: Sketch of a male figure in costume seated in front of a sign that reads "Toro"; Verso: A male figure on horseback.
Stage Design, Bridge Across Water
, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Bridge on high arch leading across water, figure in boat below.
Fishermen in Landscape
Carlo Marchionni, Italian, 1702–1786, 1770–1786
Pen and brown ink with brown wash on off-white paper, lined
Drawing

A scene framed by trees. A group of four men at the edge of a body of water. One stands in a boat spearing a fish. Two buildings visible on elevated land in the background.
Tent and Campfire
Winslow Homer, American, 1836–1910, 1895–97
Graphite on paper
Drawing

Sketch of a tent and a campfire.
Salon de l'Ordre Corinthien
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a living room with fluted columns and Corinthian capitals interspersed with windows. The plate is numbered.
Capital and Balustrade Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for ornamental capitals and balustrades. The plate is signed and numbered.
Design for a Confessional
Richard de Lalonde, French, active 1780–96, late 18th century
Etching on off-white laid paper
Print

Design for a confessional with an urn at top. The confessional is decorated with ornament motifs including piastre, fluting, scrolls, garland, bead and bar course, and a radiating eye. The plate is signed and numbered.
Family in a Boat with Two Hulls
François Boucher, French, 1703–1770, 1742-1749
Etching and engraving on white laid paper
Bound print

Chinoiserie scene. On a small boat, a standing young woman holds a child at the back of the boat; at the front of the boat, an older, bearded man is rowing while a younger man with a queue looks out. The boat is placed in a landscape with rocks, pagodas, and palm trees. This composition is included in the tapestry made by the Manufacture royale de Beauvais after a design by François Boucher, called "La Pêche Chinoise." The plate is signed.
Miser's purse
, early 19th century
silk, metal Technique: crochet

Crocheted blue silk ornamented with gold beads and cut steel beads in stylized floral pattern.  Two gold rings control side opening.  Gold drop with beads at either end.
Souvenir ribbon
, 1893
silk Technique: woven

Woven souvenir from the Columbian Exposition in Chicago in 1893. Liberty Bell is at the top with the inscription: "July 4th 1776 Proclaim Liberty." Just below: "The Bell that on a Glorious Morn Proclaimed to the World America is Free!!!" Just below is an eagle with a shield flag and olive branches. Bottom edges are folded into a point.
Sketches of Landscapes
Arnold William Brunner, American, 1857–1925, 1883
Graphite on blue-grey paper
Drawing

Three sketches top and center, houses of town with mountains beyond. Bottom, mountain and valley.
Mantilla
, 19th century
silk Technique: bobbin lace, white silk

Shaped mantilla of Spanish blonde lace with a stylized floral pattern along the edges.
Border
, ca. 1850
Machine-printed paper, gilt, flocked

Gilt arcade pattern over purple flocking, with lighter violet stars on it; edged with a rope pattern.