biglam/cooper-hewitt-alt-text huggingface dataset:
Rapid Sketch of Ocean with Hatched Sky
William Trost Richards, American, 1833–1905, after 1878
Graphite on cream wove paper
Sketchbook folio

Waves coming up on shore, looking out towards horizon; hatched sky.
Sampler
, 1813
silk embroidery on cotton foundation Technique: embroidered in cross, marking cross, stem, chain, satin and running (pattern darning) stitches on plain weave foundation

Eight darning crosses and one patch insertion.  Date and crowned initials in the center.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

On pinkish-gray ground, rounded cloud-like medallions containing pink floral medallions made up of gold scrolls and pink flowers.
Textile
, late 18th–early 19th century
cotton Technique: copperplate printed

Red and white in a stripe pattern with small foliage decoration crossed by a branching leaf and flower. A large leaf, pointed and with scalloped edge and interior decoration forms part of the pattern.
Ceiling paper
Standard Wall-Paper Company, Standard Wall-Paper Company, Pittsburgh, Pennsylvania, 1905–1915
Machine-printed paper, liquid mica

On gray ground, white scroll treillage with four motif variations: green foliate cross, yellow floral wreath, yellow and red leaf-tulip motif, and white and red scroll motif.
Salver with Four Continents
Johann Erhard Heuglin II, German, 1687 – 1757, ca. 1725
silver, gold
salver

Lobed oval, on scrolled feet, with four-lobed relief medallions of the Four Continents; engraved decoration.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica, textured ground

Small laurel wreaths with attached roses. Secondary pattern of foliate sprigs forming a grid or trellis framework. Printed on off-white ground.
Waistcoat front
, ca. 1725–35
silk, metal-wrapped threads with silk core Technique: embroidery using satin stitch and couching in five different metallic yarns on silk plain weave patterned with supplementary warp floats

Right front of gentleman's waistcoat embroidered in relief in gold and silver. Border pattern of foliage, flowers and pomegranates.
"Vues d'Italie" [Bay of Naples]
Dufour et Leroy, 1815–20
Block-printed, mounted on muslin
Scenic

In sepia tones. Upper portion of scenic panel. Section of tree top in lower left corner.
Landscape with men gambling
Frederick Bloemaert, Dutch, ca. 1616–1690, ca. 1680
Pen and ink on paper
Drawing

Four men seated on a mound playing cards. One holds a wine glass aloft. House at the right and a figure on horseback and man walking in middle distance.
Fork with Ivory Handle
, ca. 1896
steel, brass, ivory
fork

1985-103-142/143: Fork has four curved tines. Angular shoulders, eng...;     1985-103-142: Knife with blade with straight upper edge, lower e...;     1985-103-143: Fork with four curved tines. Angular shoulders, en...
Sketches of Two Heads
Arnold William Brunner, American, 1857–1925, ca. 1883
Graphite on paper
Drawing

One sketch, upper left, of balding head, from the rear. Below, three sketches of man with mustache and beard with glasses, drawn from different angles, left from behind, right profiles.
Band
, 17th–18th century
silk, metal-wrapped threads Technique: embroidered on velvet

Narrow red band embroidered with stylized floral forms.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

A repetitive design of bronze urns on stands containing large floral bouquets. Connected by acanthus vines, which form a frame centering a similar urn upon a striated beige ground, below a delicate acanthus vine. Printed in white, beige, tan, gray and bronze.
Medallion
, possibly 13th century
silk, wool Medium: embroidered and appliquéd

Embroidered medallion with an appliquéd bird in the center.
Designs for Jewelry
Gilles Légaré, French, 1617 – after 1685, 1663
Engraving on paper
Print

Designs for jewelry and case designs, including cases, a bracelent or ornamental band with flowers and floral ornament, and two pendants with pearls and jewels. The plate is numbered and signed.
Design for a gateway
Filippo Marchionni, Italian, 1732–1805, 1750–1800
Graphite, pen and black, brush and wash on paper; verso: black chalk
Drawing

Embedded rustic columns and pilasters flank the door frame, over which a tablet shows the beginning of an inscription "D.O.M." An attic with an angular pediment is above. A royal coat of arms with the Golden Fleece is to be supported by two genii. Ceres, Hercules and Apollo stand on top, flanked by bowls with fire, for which two alternative suggestions are made. Plan, scale underneath. On verso: rough sketch of a bracket on a capital.
General Plan for "The Republican Court" (Lady Washington's Reception Day)
Daniel Huntington, American, 1816–1906, 1860
Graphite on grey wove graph paper
Drawing

Sketch on graph paper of the overall arrangement of figures for a painting of Martha Washington's reception. Mrs. Washington is on a dias, at left, as figures approach from the right.
The Ravine of Bellano, near Lake Como
Felice Giani, Italian, 1758–1823, 1810–20
Black chalk on laid paper
Drawing

Gorge with waterfall, Pioverna, and bridge leading across. Below, at left, structure. Bordering lines, inscribed below by Giani in black chalk, L'orido di balamo lago di como.
Studies: The Cloth of a Kneeling Woman. The Head of a Young Woman
Carlo Maratti, Italian, 1625 - 1713, 1650–1675
Black crayon with white heightening on rough blue paper
Drawing

Vertical composition with a kneeling woman in the center and the head of a young woman at top right. No part of the body is shown unclothed. The body has a waist-belt and is turned toward the left and shown in profile. The left arm is raised. The head is above at right and is shown in three-quarter profile with long curly hair. Probably studies for a Magdalene.
Design for a Fountain
Giuseppe Barberi, Italian, 1746–1809, 1795
Black crayon, brush and sepia, grey, blue, black watercolor, on off-white laid paper
Drawing

A wide basin is shown superimposed over a landscape view of rugged countryside below slight clouds; the depiction of the basin as in 1901-39-405. Inside the wide basin is another one, at center, consisting of a bowl supported by a circle of bulls. Birds sit on the rim of the inner bowl, water flowing from their beaks. On the reverse: light pencil sketch of a fountain.
Sidewall
, 1850–60
Block-printed on paper

Quatrefoils with enclosed leaf motifs. Printed in white on a white satin ground.
Design for Fountain with Diana
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design of an irregular cartouche, decorated with motifs of the hunt including slain animals, horns, a statue of Diana with her dogs at the base. The plate is signed and numbered.
Design for a Waistcoat
, 1785-1795
Pencil and various gouaches on paper
Drawing

Design for the embroidered border of a man's waistcoat. Ears of grain and a flower bough are to alternate in a vertical row, beside a hanging straight garland and a brown stripe and a weaving stripe at left.
Sweetmeat Basket with Divider
, 1809–1819
silver
basket

Oval basket (a) with openwork sides and beading on upper and lower rim.  Four claw-and-ball feet; angular handles. 
Divider (b): two plates of silver.
Patch box
, 1760–80
Enameled and gilt copper

Oblong with concave sides and hinged cover slightly domed, with moulded mounts and V-shaped thumb-lift. Dark blue ground sparsely patterned with lozenge shapes in raised white dots; white reserve panel on each side, framed by raised white scrolls, contain floral sprays, a rose on face. Cover has landscape painted over transfer of man with gun, in blue-green coat with purple lining and yellow waistcoat, and hunting dog; stream in background. Scene framed by raised white scrolls and portion of blue ground, left all aroundior and underside in white.
Design for a Sofa with Alternative Suggestions
, late 19th century
Pen and black ink, brush and gray and pink wash, graphite on off-white wove paper
Drawing

Horizontal rectangle. Right half of sofa suggests a curved outline of the back, after the straight one that appears at the left has been erased. Sofa in Neo-Greek style with four straight legs and rose upholstery.
Edging
, 19th century
linen, cotton Technique: bobbin lace (Lille style)

Edging lace with a pattern of leaves and flowers with parts in fancy stitches.
Ornamental Vase Design
François Boucher, French, 1703–1770, 1738–72
Etching on cream laid paper
Bound print

Vase in the form of a pitcher with only the mounts (lid, handle, feet) fully rendered. A figure of a young boy reclines on rocks, shells, and flowers on the lid, while a goat with a long tail decorates the handle, and acanthus and scroll motifs adorn the foot. At right, a line drawing of the ewer to which the mounts might be attached. The plate is etched with the signature of the printmaker, and is inscribed in graphite with the plate number.
Band
, 4th–6th century
warp; S-spun linen. Wefts; S-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Angular animals in the middle section of a band.
Designs for Gun Parts and Ornament
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Designs for gun parts (flintlocks, trigger, and ornament) decorated with grotesque ornaments, mascarons (masks), fantastical animals, figures, putti, fruit, snake, scrolling leaves (rinceaux), rosettes, putti holding banners with the names of the designers, flowers, and fleurons. The plate is signed.
A Monument for the Poet Christoph Fürchtegott Gellert (1715–1769) by Adolph Friedrich Oeser (1717–1799)
Christian Gottlieb Geyser, German, 1742 - 1803, 1742–1801
Etching, stipple and line engraving on paper
Print

A monument for the poet Christoph Fürchtegott Gelelrt (1715-1769).
Hot Spring on Gardener's River
Thomas Moran, American, b. Britain, 1837–1926, 1871
Brush and black wash, graphite on cream paper; verso: graphite
Drawing

Recto: horizontal view of a small hot spring on Gardener's River located in a wooded valley, with mountain ranges in background. Verso: horizontal view of a distant Corinne, Utah at foot of snow capped mountains.
Fragment
, early 17th century
linen Technique: applique and embroidery

Light brown rectangular fragment in a conventionalized design of scrolling leaves and floral forms.
Album of Ornanment Designs
Alexis Peyrotte, French, 1699–1769, 1738–61
Bound volume
Book

Eighteen plates bound in a volume from three different print series, all published by Gabriel Huquier. The first two series of six prints each, labelled A and B, are after designs by Peyrotte. The last six plates are designed by Huquier and are from a series of twelve. The ornament designs feature rocaille motifs, acanthus leaves, shells, c-scrolls, flowers, fruits, fretwork, rosettes, gadrooning, palmettes etc.
Binding: Mottled calf with gold tooling on covers, edges, and spine, red leather lettering piece with ‘ORNEMENT/ ROCAILLE/ PAR/ PEYROTTE' tooled in gold, marbled endpapers and red edges (red of endpapers is brighter). Probably 19th century.
St. George, Detail from a Polytich with Virgin Enthroned, Study after Dosso Dossi
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over traces of black chalk on white heavy wove paper
Sketchbook folio

St. George standing with his body seen in profile, gazing out of picture towards spectator, over left shoulder; at his feet, dragon. Draperies billow at right.
Necklace
, 1850–75
Graphite on paper
Drawing

Fine chain with one big central and two small flower stems at the sides. Framing lines.
Ornament Design
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching in red ink on paper
Print

Arabesque ornament design featuring a narrow-fluted vase with flowers, fruit, and foliate branches, birds above, and foliate scrolls, fleurons, and scrolling leaves (rinceaux) below. The plate is numbered.
Façade d'un Bâtiment de l'Ordre Corinthien elevé sur une terrasse
Jean-François de Neufforge, Flemish, 1714 – 1791, 1768
Engraving on paper
Print

Design for a building decorated in a Corinthian order and with figurative statues along the roofline. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Portrait of Sleeping Man
Frederic Edwin Church, American, 1826–1900, 1876–90
Graphite on tan wove paper
Drawing

Figure sketch of a sleeping elderly man. Viewed slightly obliquely, the man's head leans backwards as his mouth is agape. He has a beard around his chin, cheeks, and jowls, and has long hair. A bowtie is visible around his collared neck.
Joseph and his Brothers
Joseph Bergler the younger, Austrian, 1753 - 1829, 1782–1785
Chalk, pen and ink, brush and wash on paper
Drawing

The brothers have entered the vestibule of a palace and observe the salutation of Benjamin by Joseph. One of them is shown in the lower left corner, kneeling and covering his eyes with the left hand. Framing lines.
Button
, 1850–1900
wood

1940-26-1-1: Woman's face in profile carved in center

On car...
Design for Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for ceiling decoration, possibly for the Winter Bedroom, Palazzo Altieri.
Ornamental Design from "Nouvelle suite de cahiers chinois a l'usage des dessinateurs et des peintres" No.3, Inventes et dessines par Jean Pillement. Graves par Anne Allen.
Jean-Baptiste Pillement, French, 1728–1808, after 1775
Etching with colored inks à la poupé on off-white laid paper
Print

Two figures fishing beneath open air pavillion surrounded by fantastic flora.
Project for a Pendant
, 1725–1750
Pen and ink, brush and sepia on paper
Drawing

At top, a large pink bow knot studded with stone. A smaller knot below, from which hangs a cross with square stones and pearls.
Dionysus and Ariadne
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen, brush and brownish gray watercolors
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. Dionysus and Ariadne with the satyr at left, and the flying putto at right.
St. (Jerome?) in Ecstasy
, 1816
Red chalk on brown paper
Drawing

Vertical composition of a saint (St. Jerome?) in ecstasy. He looks up with right arm outstretched and left arm leaning against a ledge.
Clouds over East Hampton, New York
Frederic Edwin Church, American, 1826–1900, probably July 1858
Graphite on off-white wove paper
drawing

Landscape sketch showing a view of large, billowing clouds over a bucolic landscape in East Hampton, New York. Along the lower margin, a rooftop is obliquely shown nestled among a grove of trees behind two slightly sloping hills that overlap one another in the foreground. Two large, billowing clouds rise high into the sky above--one forms a bulging summit in the distance at center.

Verso: Landscape sketch showing a view of the twilight sky over gently rolling terrain in East Hampton, New York. At center, a single tree stands alone. Above, the gradient of the twilight sky is rendered through ever-softening, repeated pencil scratches.
Stage Design, Open Palace Court
, early 18th century
Pen and brown ink, brush and gray wash on laid paper
Drawing

Horizontal rectangle. View into fantastic colonnades richly decorated with sculptures.
Saucer with Flowers
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1774–1814
porcelain, vitreous enamel
saucer

Smooth, surface with wide marly. Scattered naturalistic European floral sprays.
A Long Story
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

Second page of the poem ‘A Long Story', numbered 23. The text is letterpress printed with an etched tailpiece below. The tailpiece vignette depicts a group of figures in Elizabethan dress standing in a balcony, with draped fabric. Above a draped fabric tied with ribbons with a fur muff and feathers suspended from a ribbon on either side.
Stage Design, Exterior of Temples
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and bistre ink on paper
Drawing

Vertical rectangle. Two drawings of huge buildings resembling temples, similar to antique style. Mathematical notations at center left and bottom right.
Etui a Peigne
Jean François Forty, active 1775 – 1790, 1774–88
Etching and engraving on paper
Print

Design for a case to hold hair combs or hairbrushes decorated with scrolling leaves (rinceaux), foliate branches, rosettes, flowers, palmette or shell motifs, festoons of flowers, and acorn finials. The plate is titled.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design featuring a vase at center with scrolls emerging from its neck and at its base; below is a mascaron with drapery.
Band
, 4th–5th century
MediuM: Warp; S-spun wool. Wefts; S-spun linen, S-spun wool. Techniqure: slit tapestry with supplementary wrapping

Four waling figures, one over another.
Hermes
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen and dark ink, brush and black and gray watercolors on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Mantua. Hermes sitting in clouds and blowing a horn. The lower and part of the upper framing of the lunette are indicated.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including cornices, ornamentation, altars, balustrades, and an interior with an arched ceiling. The plates are numbered but not signed.
Textile
, mid-19th century
glass and gilt beads, silk and wool on canvas Technique: embroidered

Pattern of repeated motif of curving flowers arranged to face alternately left and right.  Colors: several shades of blue, pink, green, brown, and gray.  Worked in beading, and tent and outline stitches.
Mountains of the Andes
Frederic Edwin Church, American, 1826–1900, 1853 or 1857
Oil and graphite on light orange paperboard
Drawing

Unfinished landscape sketch showing a view of mountain ridges in the Andes of Colombia or Ecuador. Rendered only in graphite, an immense, rugged ridge stretches horizontally across the composition, complete with several steep furrows and subsidiary ridges. In the background, another craggy ridge is rendered in brownish purple with a sharp peak at center right. A low cloud is nestled in the ridge at right, while the sky is mostly filled with hazy clouds.
Pair of Torchères
, late 17th/early 18th century
Wrought and partially gilded iron

A scrolling vegetal tripod base supports a straight stem with a baluster detail at center. At top, painted flowers and leaves support a scalloped yellow plate.
Floral Ornament Design
Pierre-Philippe Choffard, French, 1730–1809, ca. 1764
Crayon manner in red ink on laid paper
Print

Floral and foliate rococo ornament design with flowers and scrolling leaves (rinceaux) on a base decorated with rosettes and interlaced motifs. Possibly a design for an andiron. The plate is signed.
Pair of Side Chairs
, ca. 1780
wood, painted beech
chairs

Three, curvilinear-shaped splats characterize back.  Upper posts are tapered.  Two lateral and two longitudinal stretchers.  Upholstered seat (light pink).
Ornamental Bracket, Frieze, Gate, and Balcony Designs
Jean Mariette, French, 1660–1742, c. 1737
Etching and engraving on paper
Print

Designs for open metal work brackets, friezes, and gates. The designs, features scrolling bands and leaves, s- and c-curves, are labeled next to the forms: "Potences pour Lanternes," "Potence pour Enseigne," "Pilastre pour Balcon" (2), "Banquette" (3), "Couronemens pour grilles de cour ou de Jardin," "Frises" (2). The plate is numbered but not signed.
Mars ou La Guerre
Jean Démosthène Dugourc, French, 1749–1825, 1782
Etching on paper
Bound print

Plate 6 of a series of 6 numbered plates. Symmetrically-designed panel with grotesques. At lower center, two crossed swords in shields over an ax. Swirling cartouches made of garlands at either side with sphinxes above. At upper center, two grotesque putti wearing battle helmets and carrying shields--crossed arrows at left and right. Ornamental decorations include armor, weapons, and symbols of war.
Study for left hand, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on tracing paper mounted to board
Drawing

Detail of left hand with fingers extended. Squared with black crayon.
Landscape Sketch with Chocorua and Walker Pond, New Hampshire
Daniel Huntington, American, 1816–1906, September 10, 1862
Graphite on grey paper
Drawing

Trees, shore and outlines of mountains beyond.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a female figure kneeling.
Design of a Cabinet in the Louis XVI Style
, ca. 1860
Pen and brown ink, brush and wash, gold paint, gouache on tracing paper
Drawing

This drawing depicts a cabinet in the Louis XVI style ornately decorated with gilt-bronze mounts. The center panel consists of an oval medallion featuring a relief of the young Bacchus holding a thyrsus; he is supported by a standing Maenad (Bacchante) while he rides astride the back of a young satyr. Garlands, laurel leaves, herms, brackets and cartouches symmetrically decorate the cabinet.
Fragment
, 17th century
silk, wool Technique: plain weave patterned by supplementary wefts

Small design of birds and leaves in green on a tan background
Medallion
, 6th–7th century
Warp; 2 ply S-spun Z-twist linen. Wefts; S-spun linen, S-spun wool. Technique:slit tapestry woven with supplementary weft wrapping.

Medallion depicts the adoration of the magi, seated Virgin holds small child with kneeling figure at the right. Three standing figure of magi in upper half. Polychrome.
Fragments
, 15th–16th century
silk, metallic thread Technique: two integrated structures: 5-harness satin patterned by plain weave (lampas)

A broad red stripe in the center has large block Arabic letters in gold; formerly, there were multi-colored arabesques in the interspaces between the letters, now mostly worn away. This is flanked by narrower patterned bands, which are separated by guard stripes of white, green, and very fine stripes of red, white, and dark blue.
Galerie métallique des grands hommes français (Great Men of France)
Matthias Nicoles Marie Vivier, French, 1793 - 1830, 1820
Cast bronze
Medal

Bust of Louis Aristo.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880
Pen and ink on wove paper
Drawing

Sketch of gondolas and sailboats in Venice.
Project for a Reliquary
, 1725–1750
Pen and ink, brush and watercolor, sepia on paper
Drawing

The base has a receptacle for a relic. A cherub at the foot of the shaft, two more beside the upper receptacle, on top a cross with two more.
Decoration du Lambris vis-à-vis la Cheminée du Salon de Brunois
Jean Mansart de Jouy, French, 1705 - 1783, 1750–75
Etching and engraving on laid paper
Print

An architectural design print depicting an interior wall elevation for a Drawing Room in the Châteaux de Brunoy, designed by Jean Mansart de Jouy for Jean Pâris de Monmartel, marquis de Brunoy. The wall features three glass paneled double doors with paneled (boiseries) shutters. Wrought-iron balcony balustrades are visible through the doors. The wall is decorated with rococo paneling (boiseries). Two narrow wall mirrors, with over mirror paintings, and console tables supporting sculpted portrait buts of women wearing feathered helmets, flank the central doors. Wall sconces with two candles each on either side of the mirrors. The paneling (boiserie) is decorated with rococo motifs - feathers, c-scrolls, s-scrolls, fleurons, scrolling leaves (rinceaux), and shells. The plate is titled, numbered, and signed with a scale below the design.
Female Nude, Resting on Grass
James Wells Champney, American, 1843–1903, ca. 1890
Red and black crayon on paper
Drawing

Nude female figure lying on grass, front down, resting on elbows.