biglam/cooper-hewitt-alt-text huggingface dataset:
The Assumption of the Virgin
Ventura Salimbeni, Italian, 1568 - before 1613, early 17th century
Red crayon, pen and ink, brush and gray wash, and sepia on paper
Drawing

Horizontal rectangle. Upon Clouds. In the center is the Virgin, in a glory of rays. At left is an angel playing the lute. At right another one playing the organ; both with groups of angels. Cherubim below. Compare with drawing by [sp?] reproduced in Röhrer "Sammlung H.S Röhrer," Augsburg, 1928, pl. 103. Salimbeni attribution considered wrong by Philip Pouncy (verbally, March, 1958).
Designs for a Cross and Ornament
Pierre Gandin, French, active 15??-16??, early 17th century
Etching on paper
Print

A rectangular plate with ornaments or jewelry patterns in silhouette including a cross in the center, featuring c-scrolls, fleurons, and dots. The plate is numbered and signed.
Plate
Cozzi Porcelain Factory, Italian, 1763 – 1812, ca. 1780
hard paste porcelain, vitreous enamel, gold
plate

Flat marly, scalloped edge. Underglaze cobalt blue decoration, overglaze red enamel and gilding. Scattered single flowers and sprays of flowers and foliage.
Developpement d'une Porte Cochere de l'ordonnance Dorique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevation of a porte-cochère decorated according to the principles of the Doric order and with sphynxes and a portrait medallion above the doors. The plate is signed and numbered.
Textile
, early 18th century
silk on silk Technique: embroidery on grosgrain woven fabric

Fragment of dark brown silk grosgrain with large-scale floral group embroidered in green, blue, orange, yellow, grey and black.
Tarus, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Winged putto clinging to flying bull in demi lune.
Design for a Woven Fabric
, 1825–1850
Graphite, white chalk, brush and lateritious, blue, and red gouache on oily tracing paper
Drawing

Blossom rosettes straggered in alternate horizontal rows cover parts of the lozenge decoration of the background. Eight-pointed stars are inscribed into the lozenges. Inner divisions are sketched in grahpite, a cirlce and a half of a lozenge in chalk.
Plate, from Le Jugement Universal
Tommaso Piroli, Italian, 1752 - 1824, 1808
Etching on paper
Print

Plate 8
Chairs
Giuseppe Barberi, Italian, 1746–1809, ca. 1785–1790
Pen and brown ink, brush and brown wash
Drawing

At left is an armchair, seen from the left corner; the left arm is omitted, so are the back legs. The back is an upholstered big oval framed laterally by columns, supporting a kind of curved entablature. The space between the upholstering and the frame is filled by straw plaiting. Below, at right, is the sketch of a chair, seen from the front. The upper part of the back is a curved rectangle, supported in the center by a board and outside by bars. The arms are springing from the lower corners. Only the left front leg is drawn. Usual background.
Lit à la Duchesse
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a bed (view from the footboard) with a flat-roofed canopy (baldachin) projecting from the wall at the headboard. The panel in between the headboard and canopy is decorated with a floral lyre and a festoon of flowers. The bed curtains are tied back and trimmed with passementeries. There are three feather finials. The bed linen and textiles are decorated with stripes, and flowers. The headboard features a central fleuron clasp with a swag of textile and acorn finials. The plate is titled, numbered, and signed. A scale below.
Sketch: An Oriental Visit
, 1625–1650
Pen and ink on paper
Drawing

Horizontal composition with a man in a turban followed by two women, and a servant carrying something, approaching two European warriors in their camp.
Design for a Watchcase
Jacques Vauquer, French, 1621–1686, ca. 1736
Engraving on laid paper
Print

Design for the lid of a circular watchcase, decorated with a biblical scene representing Joseph and Potipher's wife; flanked by two rectangular panels of ornament with putti. The plate is signed.
Pan Sitting Opposite a Vase
Giovanni Benedetto Castiglione, Italian, 1609–1664, ca. 1660
Etching on paper
Print

Figural scene in a garden or forest clearing. At left, the Greek God Pan reclines, two satyrs standing behind him. At right, a monument topped with a large urn. At right foreground, a sheep and donkey.
Statue Rock, Grand Manan Island, Canada
Frederic Edwin Church, American, 1826–1900, September 1851
Graphite, brush and white gouache on light brown wove paper
drawing

Landscape sketch showing a view of a rock formation known to Church as "Statue Rock" and, from this angle, the "Old Maid" (but popularly known as "The Southern Cross" before it collapsed in 1976) along the extremely rugged southwestern coastline of Grand Manan Island in Canada. The ocean's surface comprises the foreground and encounters a rocky shore in the middle distance center right, which extends obliquely to center left. The roughly columnar Statue Rock/Southern Cross/Old Maid is prominently visible. Wide at its base, the formation tapers upward, culminating with a rock whose shape roughly resembles a hunched-over figure. Behind the formation, white clouds along the horizon backdrop the scene. At upper right, the sparsely wooded upper edge of the cliff extends out of view.
Stage Design, Atrium with the Temple of the Hospitallers for the Opera "La Straniera" by Vincenzo Bellini
Romolo Achille Liverani, Italian, 1809 - 1872, after 1829
Pen and brown ink, brush and gray wash on white laid paper
Drawing

Horizontal rectangle. View through three arches of colonnade on Gothic circular building in two versions in the court of an enormous palace.
A Point de Vue for a Park; Three Fountains and a Railing
Pierre Edme Babel, French, 1720–1775, ca. 1750
Etching on paper
Print

Two lower fountains and a bigger one in the center showing Neptune riding over the sea stand in openings of the richly decorated railing. The royal french coat of arms and chiffres "L", respectively, top the openings. A fragment of a framing strip, at right.
One of a set of projects for a title page and the decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel has an elaborated frame, the outermost borderline of which is framing the drawing.With the blossom of a rose and two putti. Intended to be engraved
PLATS OCTOGONE
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Three designs for octagonal serving dishes with Empire style motifs, featuring a crab, reeds, snakes, rosettes, fleurons, scrolling leaves, birds, creatures, and pearls or beads. The plates are displayed overlapping, each with a vignette in the center of the dish and a decorative border. The plate is titled, signed, and numbered.
chair
, mid-19th century
wood, turned and joined
Miniature

In 17th century style
Girandole (Candelabra) Design
Jean François Forty, active 1775 – 1790, 1775–94
Etching on paper
Print

Design for a three-light candelabra (griandoles) decorated with leaves, foliate branches, festoon of leaves, fluting, rosettes, scrolling leaves (rinceaux), goats head mask (mascaron) and boy fauns supporting the base. The plate is numbered and signed.
Grotesque Design
, early 17th century
Charcoal, pen and ink, brush and watercolor on paper
Drawing

Strapwork with putti and bears frames a blank oval panel.
Design for a Bowl
Luigi Righetti, Italian, 1780 - 1819, early 19th century
Pen and ink, brush and watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a bowl intended to be executed in silver, gilded metal, and alabaster. Three chimaerae standing upon a base support the low bowl. A cover is roughly sketched in graphite. Inscription below.
Mixed Sketches, Ecuador
Frederic Edwin Church, American, 1826–1900, May–August 1857
Graphite on white wove paper; verso: graphite
Drawing

Mixed sketches showing views of a house's straw roof, at right, and two botanical studies. At left, a view of a tree's trunk covered in plants and a detail of leaves and a vine are visible. 

Verso: Botanical sketches showing views of three different plants. At right, a tall reed is shown, with a detail of a plant's leaves at center. A flower with a tall stalk is visible at left.
Escutcheon, from "Recueil Nouveau de Differens Cartouche"
Jacques de Lajoüe, French, 1687–1761, ca. 1732
Etching on paper
Print

A fantastical shell lying at the edge of some water, which pours from it. Plants, animals, oars, a trident, a net. Framing, etc., similar to 1921-6-158.
Bust of a Young Girl
, 1750–1800
Graphite on paper
Drawing

Head of a young woman with her hair covered by a scarf knotted at the breast.
LE PONT MARIE
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the bridge Marie in Paris with the river Seine in the center filled with barges and boats with cargo. Buildings along the banks of the river. Figures in the boats and on the streets. Details are lettered with an explanatory legend below. A history/ description of the bridge is lettered below. The plate is titled and signed.
Copy of the Crowning with the thorns in the Small Passion by Albrecht Durer, published in 1511
, 1525–1600
Pen, brush and bistre on paper
Drawing

Vertical composition of the Crowning with a plainly moulded frame
Looking up the Trail at Bright Angel, Grand Canyon, Arizona
Thomas Moran, American, b. Britain, 1837–1926, May 1901
Recto: Brush and watercolor, graphite on blue-green wove paper Verso: Graphite on blue-green wove paper
Drawing

Vertical view up a gorge from the bottom of a canyon.
Verso: Graphite study of a mountain range (Acoma pueblo, New Mexico).
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper
Drawing

A slightly undulating bough from which fantastic leaves and blossoms branch off alternatively directed upward and downward, over an undulating stripe. Two repeats are shown.
Two Frieze Designs
Alexis Loir, French, 1640 - 1713, ca.1660–1716
Etching on paper
Print

Two horizontal frieze designs with foliate scrolls, scrolling leaves (rinceaux), putti, ribbons, festoon of leaves, foliate branches, armor, spears, shield, helmet, and a male figure. The plate is numbered and signed.
Panel
, 17th century
silk and metallic thread Technique: plain compound cloth, brocaded

Ground fabric of dull blue plain cloth with extra wefts of silver thread shot through in alternate weft rows. Small scale pattern pf stylized floral forms, arranged in horizontal rows, brocaded in silver gilt.
Design for a Cartel Clock Case
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 cartel or wall clock case decorated with allegorical and mythological figures and mascarons, the head of Apollo, herms, cartouches, fleurons, shells, acanthus leaves, C-scrolls, flowers, garlands, fretwork, rosettes, an margent and gadroon ornament and motifs. A the figure of a winged putto leans against a crowned cartouche on the top of the clock case. The plate is signed and numbered.
Five Detail Designs for Pendants
, ca. 1790
Pen and black ink, brush and gray watercolor, gold on light green paper
Drawing

Five jewelry designs for pendant details arranged vertically, one on top of the other. At top, a "roof" in shape of a base, with a pointed oval between two bands. The second, the same: a band with an interlaced ribbon between two bands with alternating disks and lozenges. Both have above and below small rings. Both with gold. The third, the same: two rows with disks alternating with three bands. The fourth, between a band above and below is a compartment framed outside by volutes inside a blossom with leaves. A large and small disk. The fifth at bottom, a roof with five strings. On top a gold point. Bevelled corners.
Stage Design, Antique Ruins, Interior
, late 18th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of antique ruins partly flooded with water, statue in niche on wall, outlook into an outdoor hall in background.
Cock and Chickens
Walter Shirlaw, American, b. Scotland, 1838–1909, 1875–80
Brush and gouache on paper
Drawing

The chickens are shown on and under a hay-loft ladder. Framing lines.
Shawl fragment
, 18th–early 19th century
cotton Technique: block printed

Pieced panel in off-white printed in red, blue and black in a pattern of floral tendrils overset with a trellis made of small rosettes.
Band
, 17th century
linen, silk Technique: stem stitches tightly pulled to create openwork in plain weave; warps and wefts in groups of three

Two sections of an embroidered band with the repeat of a pillar and curving vine in red on a natural colored ground.
House of Hector Guimard
Hector Guimard, French, 1867–1942, ca. 1910
Gelatin-silver print
Photograph

Interior view of salon of Hector Guimard's home at 22 rue Mozart. View shows sitting chairs, a fireplace with a mirror hanging above, and various pictures hanging on the wall.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1775–1800
cotton Technique: block printed; blue applied by brush; plain weave foundation

Dense pattern of small scale, brightly colored exotic plants on a white background.
Title Page
Antoine Watteau, French, 1684–1721, 19th century
Etching, engraving and ink on paper
Bound print

Title page, consisting of a printed cartouche and a calligraphic title on two pieces of paper, for the collected works of Antoine Watteau. The printed cartouche is cut out in the center with an added paper pasted with the nineteenth-century title inscribed in ink. The original title read, "OEUVRES Des Estampes Gravées d'après Les Tableaux & Desseins de feu Antoine WATTEAU, PEINTRE FLAMAND de l'Académie Royale de Peinture & de Sculpture." The original plate was designed by Watteau, engraved by Jean Moyreau, and published by Edme Gersaint. This version is not signed.
Title Page
Charles-Germain de Saint-Aubin, French, 1721–1786, 1766
Etching and engraving on laid paper
Print

Title page for a series of designs for interlaced decorative letters (ciphers, monograms). The title is lettered on a scroll surrounded by scrolling foliage, branches, flowers and a foliate crown. The plate is numbered, titled, and signed. A collector's mark - the letters RM within an oval frame - is stamped on the lower right-hand corner, on the margin, with a number inscribed above.
Memorial Window for Harriet M. Crall
Francis Augustus Lathrop, American, 1849–1909, 1899
Halftone engraving on paper
photostat

Window depicting the Adoration, with five angels above. Central angel holds a ribbon with an inscription. Memorial plaque below to Harriet M. Crall (1835-1896). Copyright below, 1899.
Drawing
Felice Giani, Italian, 1758–1823, 1800-1820
Pen and black ink; grey watercolor on paper. ovoid

Horizontal rectangle. Aristides is shown in profile, seated upon a bloc, and turned toward left, where the peasant stands. At left is a colonnade, in the back, a river and the city. Caption: ''Ostracismo di Aristide.'' in dark gray ink, below
Purse
, 19th century
silk Technique: embroidered

Sewing case in the form of a pocket book with a metal clasp. Cover of green silk taffeta with embroidery in black silk with beads. LIning of white silk with black feather-stitch.
Trimming
, 1550–1600
silk dyed red, silk dyed green, silver metallic foil wound onto white silk Technique: bobbin lace, metallic

Fragment of lace with green and red silk and silver gilt thread.
Wall tile
, 18th century
Tin-enameled earthenware

Square tile with decoration in roundel, in manganese purple, of the flight into Egypt; small floral motifs in spandrels.
A Jack Tar (Spanish American War)
Howard Chandler Christy, American, 1872 - 1952, 1899
Pastel on paper
Drawing

The full-length figure of an American sailor in uniform, facing the spectator, the head turned toward the left. His hands are at his hips.
Fragment
, late 17th century
silk, metallic Technique: 7&1 satin patterned by weft floats

Man on horseback carrying a quiver, about to hurl a spear at a crouching lion. Large-scale parrot, stripes, fantastic foliage and architectural forms. Fabric was originally entirely faced with metallic threads, gold and silver.
Landscape
Walter Clark, American, 1848–1917, ca. 1885
Pastel on grey paper
pastel

Distant view across a lake of the sea at sunset. A wooden island is shown in the left middle distance. High cloudy sky with a few patches of blue.
Trimmings
, late 18th–early 19th century
silk Technique: velvet

Narrow bands of trimming with crisscrossing leaf and flower design with guard borders of half-circles in cut pile of red, green, and yellow on a white foundation.
Study for Christ, Chancel of St. Bartholomew, New York
Francis Augustus Lathrop, American, 1849–1909, 1893–94
Brush and purple watercolor, white gouache, graphite on paper
Drawing

Sketch for Christ in the painting in the chancel of St. Bartholomew, New York City. Christ is shown with arms extended, head lowered, and bare chest. The upper part of the wrapper serves as a backdrop for the torso. Several slight pencil sketches for the hands.
Study for "Charity," St. Bartholomew's Church, New York, NY
Francis Augustus Lathrop, American, 1849–1909, ca. 1893
Brush and watercolor, graphite on paper
Drawing

Sketch of a seated female figure holding a young child.
Textile
, 18th century
cotton Technique: block printed on plain weave

Heavy cream-colored ground in a design with detached motifs of small flower clusters and seed pods. Red, blue, green (yellow over blue) with dark brown for outlines of stems and leaf veins. Seamed in center. Right selvage present.
Stand
, early 19th century
Tin, painted red

a: "Betty" lamp with hinged cover and handle rising from back with wick pick and prong attached at top. b: Oval tray with crimped edge on circular column in larger saucer base; strap from base to column serves as handle.
Fragment
, 15th century
linen, silk Technique: embroidery on plain weave

Fragment of a cover showing a band ornamented with gothic letters.
Textile panel
, late 19th century
silk, paper with applied silver foil Technique: plain compound twill

Panel of tan silk with figured design of fine pendant branches with leaves, in green, brown, blue and tan silks and silver paper.
Classical Scene
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Brush and white gouache, graphite on cream paper
Drawing

Standing figure with lamp, left, at bed-side of a woman asleep, right. Incense burner before her. Ship shown in background, framed by curtains in window.
Elevation of a Monstrance
, 1725-1775
Pen and brown ink, brown wash, black chalk
drawing

Different details in the left and right halves. Two angels kneeling on clouds over a pedestal support an aedicula. There are many angels and garlands throughout the composition.
Sketch for a Mural
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Meeting of frontiersman and Native American at edge of woods, mountains beyond. Mathematical equations with fracctions below. Verso: Drawing of man's head, center.
Fragment
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile in a satin foundation (ciselé velvet)

Fragment with a dark yellow ground has a design of dark purple flowering branches with birds and lions.
Kozuka
, 1801–03
Dashi: Kin; Ji-ita; Sahkudo; Mon: Kin

Period: About Kiowa. School: Goto. Surface: Dashi: [ ___ ]; Fuchi no ha: Shigure; Ura: Migaki; Ji-ita: Nanakko; Mon: Hori. Shape: Kaku-jiri. Workmanship: Kin taka niku-bori zogan. Egashira no fuchi: Shigure. Design: Omote: Ryu (dragon); Ura: Fuji from Miyo no Matsubara.
Album of Architecture and Ornament Prints
Jean-François de Neufforge, Flemish, 1714 – 1791, 1757–63
Album

Album of ornament, vases, furniture, furnishings, and architectural designs from various series of prints designed and published by de Neufforge. The plates are titled, numbered, and signed.
Scrapbook
, 1840–1910
Block-printed, machine-printed, and flocked samples

Scrapbook containing 98 samples of paper, including 96 borders and 2 sidewalls. The pages samples are mounted on are very acidic and in a very fragile state.
Sidewall
, 1810–20
Block-printed

Taupe ground, stylized plant with unusual seed pod pendants, printed in cream and brown.
Pitcher
, ca. 1800
Glazed earthenware, silver resist, transfer printed and luster decoration

Tapering bulbous form with circular mouth and deep spout; large, squared loop handle. Yellow glaze ground with silver luster bands and black transfer-printed decoration:  on one side, medalion with message, "May The Tree of Liberty Ever Flourish," accompanied by various symbols and attributes; on the opposite side, cartouche with message "Success to the United States of America," accompanied by symbols and attributes, and surmounting ribbon with "E Pluribus Unum"; under spout, "Peace and Prosperity to America" within oval wreath. Yellow-glazed interior.
Album of Prints: Tobacco Boxes by Viriclix
Viriclix, active 18th century, 1751-1769
Album

Album of prints containing designs for the faces of tobacco boxes with scenes of hunting dogs and putti. Some of the plates are signed and numbered.
Sampler
Margaret Dennis, possibly 1799
silk embroidery on linen foundation Technique: cross-stitch embroidery on plain weave

Verses worked in fine black cross-stitch on a natural linen ground, with a bouquet of flowers; stylized running vine borders.
staircase model
, late 19th century
cherry (wood), walnut

Spiral staircase model in English style.
Sidewall
, 1815–30
Marbleized

White veining, and gray and white mottles veining, on red-orange ground.
A Large Fountain
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1885
Brush and watercolor, graphite on paper
Drawing

A large fountain with figures in foreground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Mica frieze with horizontally repeating rococo-inspired pattern. Alternating large and small medallions composed of acanthus scrollwork and filled with groups of pink rose blossoms. A swag of pink roses runs along the bottom of the page, and a scalloped border of C scroll lifework runs across the top. A pattern of wide, vertical lines goes behind the medallions from the bottom of the page to the top line-work border. Pattern is machine-printed in browns, pinks, reds, greens and white atop a background that fades from tan to green to tan.
Two-Armed Candelabra
George Eadon & Company, Sheffield, England, 1817
silver, wood
candelabra

Each candelabrum with circular base (wood filled) with step moldings and gadrooned shoulder below socket; urn-shaped socket with candle nozzle, into which paired branches fit; each detachable double branch with "s" curved reeded arms joined to central flange; leaf-applied finial between; each branch with gadrooned wax pans and urn-shaped sockets with detachable gadroon-edged nozzles; each candlestick based engraved with coat of arms and crest (unidentifiable); similar crest on juncture plate of branches.
Paneled Wall
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and tan and blue wash on wove paper.
Drawing

Paneled wall with marble base.
Matchsafe in the Form of a Boot
, ca. 1910
vulcanite
matchsafe

In the shape of a tall black boot, inscribed in light brown "Compliments of Hood Rubber Company, Boston, U.S.A.", with slip-top lid, which may be removed entirely. Striker on grooves of sole on boot bottom.
Band sampler
, 19th century
silk on linen, glass beads Technique: embroidered on plain weave

Drawnwork sampler with beadwork edge showing pairs of animals with flowers, and bands of multicolored silk embroidery on linen.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white wove paper
Drawing

Small clusters of pink, blue and white flowers on black ground decorated with a leafy pattern and star motifs.