biglam/cooper-hewitt-alt-text huggingface dataset:
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 trophies, rococo ornament and vignettes. A rocaille fantastical fountain, with c-scrolls, shell, and acanthus leaf motifs, mascaron, garlands of flowers, and cartouches within a garden landscape with trees and a sculpture in the background. A man and a woman sit on the fountain, holding the garland of flowers. Below in the foreground, agricultural tools, including a rake, shovel, and jug. The plate is signed and numbered.
Virgin and Child in the Clouds
Michel Lasne, French, ca. 1590 - 1667, 1637
Engraving on laid paper
Print

The Virgin and Child, upper left, in the clouds, with four putti. Below, under a tree, Saint Anthony looks up at them. A book lies open, to his right. Below, the inscription: "Sactore ANTONI quem nos superanimus hostem / Quod superas Coelo parta corna tibi est / Non mea sed vestia est victoria parta quod illa est / Lacte tuo Mater Sanguine Nate tuo". The artists' names below, and date.
Candlestick and drip pan
, 1760–90
Cut blown glass

Glass candlestick with square base; a thin shaft near foot, with round drip pan with scalloped rim, garlands of beaded glass and hanging teardrops. Above this, straight wide shaft and open mouth for socket with small scalloped rim.
Covered Goblet with Lilies of the Valley
Albrecht Altdorfer, German, ca. 1480–1538, ca. 1520–1525
Etching on white laid paper
Print

A covered stemmed goblet with scalloped petals covering body and lid with flower bud as finial.
Study of Cats
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Black crayon on paper
Drawing

Studies of two sleeping cats. Outline of paw print, lower right.
Salome Dancing during the Banquet of Herod [above]; Salome Offering Saint John's Head to her Parents [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 1595 or before
Recto: pen and brown ink, brush and brown wash over black chalk on laid paper Verso: pen and brown ink, brush and brown wash over black chalk, with corrections by the artist in white opaque paint on laid paper
Drawing

Recto, above: Salome dances at the center of a long hall. Onlookers stand at right. At left is a banquet table, King Herod and his guests reclining on couches. 
Recto, below: Salome dances in the foreground of a large hall with a long banquet table pictured behind her. Diners recline on couches surrounding the table, with King Herod at the head of the table at right. An old repair is at lower left.
Verso, above: Daniel interprets the dream of King Nebuchadnezzar. In a large hall, Daniel stands at right before the king, at left. 
Verso, below: Two ovals, one containing a bust-length image of the Virgin praying over the dead Christ, and the other containing a depiction of a praying male saint. An old repair is at lower right.
Study of a Lying Cow
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Graphite on paper
Drawing

The cow is shown from the back with raised head.
Le Jardin des Grâces
Giovanni Paolo Gaspari, 1714 – 1775, 18th century
Etching and engraving on off-white laid paper
Print

Design of a courtyard garden set amongst stairs and populated with statues of mythological figures and urns.
Designs for Vases and Architecture
, 1700–1800
Pen and ink, brush and wash on paper
Drawing

Views of garden architecture and vase designs.
La Toilette d'Esther
Jean-François de Troy, French, 1679–1752, 1825
Block printed on handmade paper
Overdoor

Horizontal rectangle, on two joined sheets of paper, printed in brilliant colors. Esther, seated, being attended by serving woman, with Hagar standing by. Architectural background with drapery.
Tile
, late 18th–early 19th century
Glazed earthenware (high fired decoration)

Man in long white trousers, green coat and top hat, walking toward the left, leading a dog on a leash, and carrying a walking stick.
Project for a Chimneypiece with Alternative Suggestions
, 1725–1750
Pen and ink, brush and wash on paper
Drawing

Elevation of a chimneypiece. Below, an undecorated polyangular panel with a scrolling frame. Above this, an oval. At top, a pediment with mask. Double framing lines.
Saint Paul the Hermit
Francesco Villamena, ca.1566 – 1626, 1613
Engraving on paper
Print

Half-length figure of a nude elderly man, turned half-left, leaning on his elbows and holding a rosary in his left hand, a skill before him. Below, a four-line Latin inscription, artist's name.
Bands
, 18th–19th century
linen Technique: needle lace

Two small bands of Argentan lace with a border of lumpy half circles. Field is filled with small floral sprigs.
Panorama of London, United Kingdom, Part Two
Frederic Edwin Church, American, 1826–1900, June 15, 1869
Graphite and white gouache on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a portion of a panoramic view of London, United Kingdom. In the foreground, a river stretches horizontally across the composition, and carries a loosely rendered boat. Beyond the opposite, wooded bank, the roofs of a few buildings are visible, nestled among trees and other vegetation. In the background, past a treeline, a skyline of London is shown stretching across the composition with several notable domes and spires at left.

Verso: Landscape and atmospheric sketch showing layers of clouds and haze over a small portion of the London skyline. At center,a shaded, wooded landscape is shown three prominent buildings--possibly portions of St. Paul's Cathedral. Above, layers of haze and clouds blanket the city. A long cloud hangs in the sky at upper right.
Hohensalzburg Fortress at Sunrise, Salzburg, Austria
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil on paperboard
drawing

Landscape sketch showing a view of Hohensalzburg Fortress in Salzburg, Austria, at sunrise. Green fields and other loosely-rendered vegetation comprise the foreground. In the middle distance at left, the imposing castle with tall, round towers sits atop a prominent hill and is bathed in the pinkish light of the rising sun. At right, the silhouette of a rugged mountain slope is shown in purple. In the background at center, the mountain known as Teisenberg is faintly rendered in a shade of blue slightly darker than the sky. Above, purple-blue clouds are shown near the upper margin.
Token
Raymond Gayrard, French, 1777 - 1858, early 19th century
Cast silver

Octagonal gambling token. Obverse shows the double bust of young Janus. Inscription: HEUR ET MALHEUR (fortune and misfortune) / GAYRARD-F. Reverse: Standing wizard. Inscription: HEUREUX QUI-PEUT DEVINER.
Coupe et Elévation sur la longueur
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

A part-elevation and part-sectional view of a house with a domed coffered ceiling, columns, and niches with beds. The plate is titled, numbered, and signed.
Ribbon
, 19th century
silk, metal strips Technique: satin with weft patterning

Trimming or ribbon with a flower and leaf motif in silver, repeated at intervals on ground of white silk with red silk borders.
Clouds at Sunset, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Brush and oil paint, graphite on brown paperboard
Drawing

Landscape sketch showing a view of a brilliantly vibrant sunset over the lush mountains of Jamaica. In the foreground, a round, wooded hill at right gives way to overlapping ridges in the middle distance at left. Above, a billowing prominence in a dense, low-lying cloud bank is cleaved in half by the sun's bright, golden-orange light. The orb of the sun itself is visible at center, as it colors both distant and nearby clouds in vivid hues of red, pink, orange, and yellow. In the background, the evening sky is rendered as a gradient from blue to yellow-green.
Ceiling Design
Jean Lemoyne, French, 1638 – 1715, 1700–15
Etching on laid paper
Print

Plate from a series of seven ceiling designs, showing half of an ornately decorated ceiling with part of ceiling rosace in the center. The decoration features grotesque and arabesque motifs, acanthus leaves, friezes, garlands of flowers, mosaic and fretwork patterns, rosettes, baskets of flowers, drapery, tassels, masks, military trophies, incense burners, female figures, sphynxes, roundels with standing female figures, fleurons, scrolling foliate and strapwork. The plate is signed.
Carnations and Buds, Plate 11
, 18th century
Engraving on paper
Print

Carnations and buds, plate 11.
Design for a Mantlepiece and Overmantle
Thomas Lainé, French, 1682 – 1739, late 18th century
Etching on laid paper
Print

A printed sheet from a series of thirty designs for moldings, carved frames, doors, chimneys, and liturgical objects. A design for a mantlepiece, and overmantel. A curved marble mantlepiece with an overmantel decorated with two long vertical panels, carved with acanthus leaves, profile portraits, shells, C-scrolls, vases with flowers and margent ornament. The mirror is semi-circular along the top, decorated with an overmantel panel of carved moldings, mascarons, shell and acanthus motifs with a large, lidded vase or urn in the middle decorated with mascarons and garlands of flowers. A carved lintel above. The plate is signed and numbered.
Repast of the Hunters
Alexis Peyrotte, French, 1699–1769, early 1740s
Hand-colored etching with watercolor on paper
Print

Two hunters rest beneath trees and are served by a turbaned boy. Another hunter fires at a small animal in the right background. Two dogs in the foreground. Castle in the distance.
Button
, late 18th century
Stoneware

Three circular medallions in the style of Wedgwood Jasperware; open flower with twelve crinkled petals; white on blue.

On card 4
Design for an Andiron
Jean Cotelle, French, 1607–1676, 1622-1676
Etching on laid paper
Print

Design for andiron with Atlas carrying the globe, flanked by sphinxes on scrolls. Around the andiron are other designs for an andiron, a container with a lid, a handle for fire tongs, and a design for a vessel.
Button
, 1830–46
Pewter foil over brass

On card E
The Old Bishop, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 1851
Graphite on light brown wove paper
drawing

Landscape sketch showing a view of the rock formation now known as "the Bishop" on the north coast of Grand Manan Island in Canada. Dominating the composition at center, the Bishop is characterized by its slightly tapering, columnar formation and its uneven, rocky surface divided by numerous vertical and horizontal fissures. Several large boulders and stones rest in a pile on the uneven ground at the base of the Bishop. A rocky cliffside extends out of frame at left, while ocean water is visible in the foreground at right, and extends to the flat horizon in the background at right.
Sketches, Possibly the Rest on the Flight to Egypt and Figures Worshipping the Virgin and Child
Filipo Agricola, Italian, 1776 - 1857, 1820–1850
Pen and ink on paper
Drawing

Sketches, Possibly the Rest on the Flight to Egypt and Figures Worshipping the Virgin and Child.
Mountains at Sunset
Frederic Edwin Church, American, 1826–1900, probably 1868–1869
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of immense mountains at sunset, likely in the European Alps. A nearby, tree-covered mountain dominates the foreground at right and descends to another dark at lower right, which, itself, seems to ascend to a rocky ridge at center right. At center, a large, pyramidal peak in a rugged mountain range catches the bright pink and purple light of the setting sun. A distant, rocky, snow-capped summit peeks above the foreground prominence at upper left. At upper right, a full moon hangs in a dim blue sky.
Ornamental Panel with a Central Roundel
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A rectangular ornamental panel design with a central roundel featuring a seated man and a putto holding a mirror. The roundel is surrounded by two different designs featuring putti, a female figure, mascaron (mak), sphynx, cornucopia, scrolling leaves, rinceaux, festoons of leaves and fruit, shells, and textiles. The whole is framed by a leaf molding on the left and a rosette and roundel molding on the right. The plate is signed.
Textile with bead embroidery
, 19th century
cotton, glass beads Technique: plain weave foundation with bead embroidery

Fragment of cloth with two panels showing landscapes worked in colored beads.
Panel
, 15th century
silk, metallic threads Technique: supplementary warp in plain weave foundation with continuous supplementary wefts (velvet)

Pomegranate pattern in mauve and gold.
Alternate Designs for an Interior Wall Elevation
Jean-Baptiste Le Roux, French, ca. 1677-1746, early 18th century
Etching and engraving on paper
Print

An interior wall elevation with different wall treatments featuring paneling, moldings, frames, glass-paneled windows, roundels, vases, brackets, masks (mascarons), shells, scrolling leaves. The details are described with a legend and scale lettered below. The plate is numbered.
Title Page, "Feuilles de Terpsichore Pour le Clavecia"
Jacques Le Roy, French, 1739–1789?, ca. 1790
Etching and engraving on paper
Print

A bracket with a frame, shown in perspective, has, at top, a garland and an angel sitting on clouds and leaning on the joined coats-of-arms of Louis XVI and Marie Antoinette; at bottom: musical instruments including a clavicord, a violin, and a harp and music books; at center: an ovoidal opening with the title as given and "Dediées aux Dames / L'on trouvers successivement …." Below the design: "Ja Le Roy".
Cloudy Sky
Frederic Edwin Church, American, 1826–1900, 1856–1890
Graphite on tan wove paper
drawing

Atmosphere sketch showing a loosely-rendered view of bands of clouds in a dark, possibly twilight sky above a gradually rolling mountain range.
Fragment of garment with medallion and band
, 4th–5th century
Warp; S-spun linen. Weft: Z-spun linen, Z-spun wool Technique: plain woven linen with in-woven wool slit tapestry and supplementary weft wrapping

Fragment of plain woven linen with in-woven tapestry band and medallion. All very finely and evenly woven. Embroidery along top and a series of multiple picks carried at a time to form ridges near top of fabric. Band: dark brown serpentine set against brown background hatched with natural. In curves, pairs of brown leaves, centers defined by soumak. At one-third length of band a panel containing an undyed bud against a brown ground. Medallion contains two figures, the one at left in short spotted garment - Roman military dress, embroidered at one side of his garment. The one at right holds an owl (Athens). Figures in brown, defined by soumak against same kind of hatched ground. The eyes of these figures are very large and striking because of area of undyed tabby used for the whites. Plain brown outer border defined at edge by soumak. The hatching of the ground in this textile is done in the proper Greek way, by alternate shots of dark and light thread.
Trimming
, 19th century
silk Technique: woven

Yellow trimming fragment in a design of diagonal lines forming triangles with conventionalized leaf ornaments inside.
Painted Decoration of a Wall
, 1830–50
Graphite, pen and ink, brush and watercolor on paper
Drawing

At right, a door. At left, grotesque decoration. Above, two paintings and a frieze with palmettes.
Trimming
, 19th century
silk Technique: woven

Pink, yellow and white trimming fragment in a design of ornamented lozenges separated by spaces.
Textile
Duplan Silk Corporation, Hazleton, Pennsylvania, USA, 1920
silk Technique: compound satin weave

Bright blue-green ground with closely-spaced allover highly conventionalized floral medallion design in satin weave against a ground of plain weave combined with supplementary yellow weft.
Designs for Painted Panels with Fortune and Jacques Necker
Claude-Louis Desrais, French, 1746–1816, 1788–90
Pen and ink, brush and white gouache and sepia washes, black chalk on two pieces of off-white laid paper, joined
Drawing

At top is a radiant sun with interlacing L's, the symbol of Louis XVI and a woman deflecting beams of light with a magnifying glass. At center, a woman holds a wreath over a portrait bust of Jacques Necker. At the base of the plinth is a book entitled Compte rendu, and a paper scroll on which is written: Eloge de Colbert. At bottom, a grotesque and a crowned shield with fleurs-de-lys.
Fragment
, late 19th century
silk Technique: compound satin weave with discontinuous supplementary weft (brocaded)

Ground narrowly striped vertically light blue satin and pale pink plain cloth. Over this a minute trailing vine, in secondary cream silk weft, looping into bow form and holding in knot a small bell-shaped blossom, which is brocaded in cerise, pink and green. Right selvage present.
Napkin
, 1740s
linen (warp), silk weft Technique: 4&1 satin damask

White damask napkin has a field with a vertically symmetrical pattern of medallions and stars. A border with curling leaves completes the medallions along the outer edge of the field.
Design for a Mass-Operational House Designed by Hector Guimard, Framing Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the framing construction.
Sample from Malmaison
Augustin François André Picot, French, 1804
wool Technique: Black napped plain weave sewn to yellow napped plain weave.

Sample of appliqué of faded black wool on a yellow (faded) ground in a painted and gold leafed mat. Appliqué is in a wave design.
Design for Toile de Jouy: La Marchande d'Amours (The Cupid Seller)
Hippolyte Le Bas, French, 1782–1867, 1817–18
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper mounted on board
Drawing

Printed cotton textile design with four vertical rows of  cameo medallions (octagonal, oval, circular, hexagonal, etc.) each displaying a classicized scene against a pattern of rosettes within a diamond grid.   Above center to the left, the "Merchant of Love" (which gives the piece its name) is in the octagonal medallion: a seated woman, at the right, grasps a cupid by its wings to remove it from its cage to show to the two women at the left.  This medallion is surmounted by a pair of swans; one holding a panpipe, the other a triangle on a ribbon dangling from its beak.   Beneath, is a "cameo relief" of the infant Hercules riding a lion.  At the upper right, a cupid sails on a boat made of his quiver and bow,  with arrows for oars, and his torch as the mast.  At the lower right (within a hexagon), Venus consoles the youth Cupid, while Time breaks his bow.  At the left, a butterfly (symbol of Psyche), above a flower basket, which is above a pair of embracing cupids.  To the right of lower center: fragmented image of Cupid and Psyche embracing.    Medallion dimensions (including respective borders):  Cupid Seller  19.5 x 26 cm (7 5/8 x 10 3/16 in.); Time breaking Cupid's bow  19.5 x 26 cm (7 5/8 x 10 3/16 in.); Cupid on "Bow/boat" 16.5 x 22 cm (6 1/2 x 8 5/8 in.); infant Hercules/lion 17.2 x 22 cm (6 3/4 x 8 5/8 in.); Cupid sharpening arrows 13 cm diameter (5 1/16 in.); butterfly, without border, c. 4.5 cm diameter (1 3/4 in. diameter).
Pleated fan
Guido Reni, Italian, 1575–1642, mid- 18th century
Painted and gilded parchment leaf, carved and pierced mother-of-pearl sticks overlaid with gold and silver leaf, spangles and painted details

Pleated fan. Parchment leaf painted with classical scene after the fresco called "Aurora and the Hours." Small gilt-scroll borders. Reverse: painted with outdoor scene. Carved and pierced mother-of-pearl sticks overlaid with gold and silver leaf, spangles and painted details.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. green ground with orange floral motifs
b. gold color ground with lighter color floral motifs
c. green ground with yellow floral motifs
LA GROTTE
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation framing a central vignette of a grotto with scallop shell niches and a fountain. Several individuals walk along the staircase in front of the fountain, which has on its facade a horned mascaron. The plate is signed.
Plate 1, Decoration de Cheminée pour un grand Apartement
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

A fireplace set into a shallow niche. The fireplace decorated with carved scrollwork at corners and in center. The mirror decorated heavily in upper part with flowers, scrolls, etc. and a circular painting depicting a triton with a girl. Below, profiles with wall molding with inscription. Inscribed, upper margin: "Decoration de cheminée pour un grand appartement / elle est logée … d'une croisée"; lower left center: "A Paris che Mariette".
Les Anes du Midi
Félix Hilaire Buhot, French, 1847–1898, 1873
Etching on paper
Print

Landscape with high mountains in the background. In foreground, four donkeys loaded with packages, accompanied by two women, one seated on donkey and one standing beside.
Fragment
, 19th century
silk, gold metallic thread Technique: couching stitches on supplementary warp pile (velvet)

Irregular-shaped fragment probably from a sleeve of a court robe. Red velvet with a design of ovals, spirals and S-shapes in couched gold.
Tailpiece
Homer Wayland Colby, American, 1874–1950, ca. 1910
Pen and ink on paper
Drawing

A symmetrical design composed of a fir tree as central motif, flanked by lighted candles and holly.
Dedication Page of a Suite of Cavalry Officers
Georg Philip Rugendas, German, 1666–1742, ca. 1730
Mezzotint engraving in dark brown ink on paper
Print

Grouped on and around a socle are pieces of armor and other instruments of warefare. In the background appears a cavalry march. On the socle, which bears a coat of arms, is a dedication to Gio. Michaele Hoffmann and a seven line inscription signed by the artist.
Fragment
, 17th century
linen Technique: needle lace

Fragment of a deeply scalloped leaf pattern.
Band
, 17th century
linen Technique: bobbin made continuous tape lace with net added (Valenciennes-style net)

Band of northern Italian guipure in a design of angular scrolls.
Trimming
, 17th century
silk, metallic thread Technique: woven

Design of saw tooth borders with broken diagonal lines between. In yellow and metallic thread.
Flounce
, 19th century
linen net Technique: applique on net

Pattern of floral prays and diamond shaped medallions. Pattern of Limerick type but probably made in England.
Soldiers, Magus, and Other Figures Observing a Skull and a Tibia on an Altar, plate 7 from the Scherzi di Fantasia
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

First state, before the number
A seated soldier pointing with his left hand, a standing magician, a bearded man and a bacchante, observing the altar at lower right.
Trimming
, late 19th century
plant fiber, metal, glass beads Technique: braided

Ornament in the form of a rosette with streamers. At the center of the rosette are two black buckles with black velvet bands, thin metal chain and black beads.
Cottage Near a Pool
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A cottage with two figures conversing at the door stands at left. Near by, a man with a pack on his back converses with a seated woman. A pool is in the right center foreground.
Tile
, mid-18th century
Glazed earthenware, overglaze decoration

Cream-colored clay slightly corrugated on reverse. White glaze, of which traces are shown on reverse. Decorated with figure of a man carrying a basket, wearing a Chinesque cap.
Door Knob and Escutcheon
, ca. 1790
porcelain, vitreous enamel, gold
door knob and escutcheon

Knob is a flattened sphere; escutcheon circular with ogee profile. Florals, bird and gilding.
St. Jerome in Penitence
Albrecht Dürer, German, 1471–1528, ca. 1497
Engraving on off-white laid paper
Print

Vertical rectangle. The saint is seen in the foreground, on his knees, facing left, almost in profile. He holds out his right hand in which he has a stone. A lion crouches beside St. Jerome. In the distance, at left, high rocks and a small chapel; at right a river. Monogram of Dürer, lower center.