biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Hand Fan (Left Plate)
Bellay, French, active from 1734, ca.1734–37
Etching on laid paper
Print

A design for a hand fan or hand screen pasted to the left of another design. The design features rococo and chinoiserie (in the Chinese style) motifs, with a woman standing in a landscape leaning on a vase, framed by cartouches, fleurons, leaves, a dragon or sea creature and a male figure seated in the foreground. There are two vases with leaves in the background on plinths.
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 blossoming flower and two putti. Intended to be engraved
When I Waz a Boy
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top, short story. Bottom, two cats hanging from a line, by their tails. Both tails are knotted together, ripping fur out; lower left, fur falling.
Chocolate Pot with Camaieu Landscapes
Meissen Porcelain Manufactory, German, active from 1710 to the present, 19th century
hard paste porcelain, vitreous enamel, gold, bronze, wood
chocolate pot

Cylindrical, spouted body with handle of porcelain and wood. Decorated with quatrefoil reserves containing landscape in purple, on a yellow ground. B) cover, flat, with landscape reserve, bronze handle and perforated center.
Panel and Frieze Design
Philippe, I Caffieri, French, 1634 – 1716, 1670–1700
Etching on laid paper
Print

Designs for a vertical panel and a horizontal frieze below featuring royal emblems, a French royal crown, cypher with interlaced L's, a ‘T', and an ‘M', palm leaves, scrolling acanthus leaves, strapwork, cornucopia of fruit, ribbons, festoons of fruit and flowers, basket of fruit, and foliate leaves. The plate is numbered and signed.
Ca d'Oro Palace, Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Sketch of an exterior column from the Ca d'Oro palace in Venice.
A Landscape
Eugène Edouard Soulès, French, 1811–1876, 1840–1860
Graphite, brush and white and yellow gouache on paper
Drawing

View into a valley with a farm.
Prospectus Templi S. Iohannis Romae (View of Saint John Lateran Basilica in Rome)
Hand-colored etching on paper; verso: blue paper and fabric adhered with thread
Bound print

Perspective view of Saint John Latern Basilica in Rome. The façade of the church dominates the right side, lined with columns and topped with golden statues. A building extends to the left of the basilica, featuring cut-out windows with fabric and thread visible though the openings. Pairs of pedestrians are scattered around the open street, and a blue sky fills the upper margin, fading into a soft pink. Printed along bottom margin: Prospectus Templi S. Iohannis Romae / Veduta della Chiesa di S. Giovani di Laterano, a Roma. 

Verso: Patches of blue paper covering colored fabric, slightly visible through the paper. Printed label: Vue perspective de linterieur de la Superbe Eglise de St. Jean de Latran à Rome.
Medallion
, 4th–5th century
Warp; S-spun linen. Weft; S-spun linen, S-spun wools. Technique: slit tapestry woven with supplementary weft wrapping.

Circular medallion with pattern of four interlaced vases. A great deal of the purple weft is missing.
Purse (tobacco pouch)
, 1815–40
silk, glass and metal beads Technique: knitted in crossed stockinette stitch

Silk strung with glass and metal beads. Worked as a tube beginning at bottom.
Letter to Dr. Dudley Tenney
Frederick Stuart Church, American, 1842–1924, July 10, 1895
Pen and brown ink on paper
Ephemera

Above: Sketch of man extracting teeth from tiger; the hairs on the man's head are Below: Envelope addressed to Dr. Dudley Tenney.
Hunting Trophy Design
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Design for a hunting trophy incorporating a basket, horn, dead rabbits or hares, festoon of leaves, rifle, powder flasks, foliate branches, and flowers. The plate is numbered and signed.
Winter Sunset Across the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of a winter sunset over the Catskills, as seen from Church's farm on Long Hill. Foreground hillside covered in snow and descends from right to left. Barren trees in foreground at left. Silhouette of Catskill Escarpment visible in distance, painted in dark purple. The setting sun peeks over the ridgeline as it illuminates the clouds in an orange tint. Sky above a hue of blue-green.
Galerie métallique des grands hommes français (Great Men of France)
Jacques-Édouard Gatteaux, French, 1788 - 1881, 1817
Cast bronze
Medal

Bust of Pierre Puget (1620 -1694)
Frieze
, 1886
Handpainted in oil on canvas

Frieze painted on canvas, in several pieces. Ecclesiastical subject.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. Design scheme similar to 1938-88-833, the ribbon being decorated with vertically disposed disks, separated by bands. Disk above, three drops below.
Two Plans and Elevations for a Neoclassical Triumphal Arch
Joseph Michael Gandy, English, 1771 – 1843, May 27, 1795
Graphite, pen and ink, brush and gray wash on wove paper
Drawing

Above, plan view of a Neoclassical arch situated in a country landscape, aquarelle with two framing lines. Below, two sketches of plan and elevation of a similar arch that has the addition of two rooms at the sides. Below, the plan of the arch depicted at top.
Study for "A Lesson of Charity"
Daniel Huntington, American, 1816–1906, 1863
Black crayon, white chalk on light brown wove paper
Drawing

Lowered head of an elderly man in three-quarter profile.
The Adoration of the Magi
Johan Wierix, Flemish, 1549 - 1618, 1602
Engraving on paper
Print

The figures of the three kinds and the faces of two servants are to the left of Mary, with her Child on her knee, in the center. Joseph is standing at right. A stable and hills beyond. Below, "Confitebor tibi in gentibus bomine; Et nomini tuo cantabo cum G. Paivil, Arch. D. Sing. B., Johan W. in. F.: Et excud. Anno 1602."
Palais Pour la Ville
Antoine Le Pautre, French, 1621 - 1679, ca. 1652
Engraving on paper
Print

Palais pour la ville.
La Fontaine du Dragon à Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed one above the other. Details from the gardens at Chantilly, featuring hedges, trees, fountains, and trellis/ lattice structures. The upper plate illustrates a fountain framed with a sculpture and jet of water framed by a lattice arched niche. The lower plate illustrates an island within a large basin with a trellis gate leading to an interior with hedge walls. Figures throughout the grounds. The plates are titled.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

On light brown ground, treillage of white scrolls intersecting another in gold, containing clusters of gold and tan flowers.
Sidewall
, 1820–50
Block-printed

Floral stripe, with vertical band of flowers between bands of stylized floral motifs.  On either side of the stripe is a small diamond trellis pattern, with a four-point star covering the line intersections, and a dot in the center of each diamond.  Printed in red, green and white on a blue ground.
Sampler
, late 19th century
silk embroidery on cotton foundation Technique: embroidered in cross stitch on plain weave foundation

Horizontal rectangle enclosing five alphabets, one set of numbers in black with multicolor motifs of people, birds, and animals. Three cartouches at top with floral swags.
Angel Appearing to the Shepherds
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, after 1634
Etching on white laid paper
Print

Angel appearing with a group of small angels at upper left. Four shepherds with their cattle in a valley at right. Night scene, angels and shepherds lighted.
Sidewall
, 1860–64
Machine-printed paper

Group of four wallpaper fragments, each cut in the shape of a doll dress. Were among the toys of Willie Banning who died at age 4 in 1864. Papers appear to date from early 1860s; in shades of blue, brown and gray.
Serene Seascape with Abstract Doodle
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Light, serene beach with small waves coming onto shore. In right margin, a small abstract doodle, possibly a nautilus shell or study of a creating wave.
Goblet
Johann Jakob Adam, ca. 1720 – 1791, ca. 1751–53
silver, gold, glass
goblet

Silver-gilt American Indian, in feather skirt and headdress, holding up globular glass cup, engraved with coat of arms, two gentlemen shaking hands, and legend: "Treuer Freunde Freundschafts Pflicht Endert Sich im Grabe nicht."
Band
, ca. 1660
linen Technique: needle lace with ground of loop and twist with twist return

Band with stiff scrolling vine with short branches and small sprigs.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Sketches of two figures, possibly jesters.
Marriage plate
, 1754
Tin-glazed earthenware

Circular plate with up-curving rim; back dome shaped, flattened at center; painted in underglaze blue and yellow on white with a heart surmounted by a crown and surrounded by putti and flowers, inscribed inside "William and / Suanna Plumer / Yarmouth / 1754"; a stylized floral border with yellow rim.
Border
, early 18th century
Technique: bobbin lace

Bobbin lace entre-deux (joined), ogee shapes; early 18th century Maline
Portfolio
, 18th century
Leather, paper, gold, silk, brass

A leather portfolio with a red, gold and green zigzag interior. The portfolio has a brass closure.
Border
, 1805–10
Block-printed on handmade paper

Upper part of border shows large vase or urn in grisaille. At right and left may be seen portions of the tails and wings of addorsed griffins. The ground color on the upper portion has a pink or mauve coloring under losses of printed colors. Portion of green band with rosette at bottom.
The Statute Law, Study for Right Panel of "The Reign of Law," Frieze for Appellate Court, New York
Kenyon Cox, American, 1856–1919, 1898
Brush and brown wash, red-brown pastel, graphite on canvas
Drawing

The central alleogrical figure represents The State, robed and cronwed, pointing to the statue book. Her supporters hold the ballot box and the sword. The allegorical figures to either side represent Liberty and Force, the foundations of the state. The circles in the corners indicate the placement of wreaths in the final composition. Squared for transfer.
Standing Sibyl
, 1800–20
Pen and black ink, brush and grey and brown wash on cream paper
Drawing

A turbaned and heavily draped elderly female figure stands in contrapposto. A sleeping dog lies at her feet. Black framing lines surround the picture, and the top corners are chamfered.
Escholtzia
Arthur Wilcock, ca. 1890
cotton Technique: roller printed on plain weave, duplex
Textile

Stylized flat pattern in two shades of green on a plain white ground; confronted poppies enclose thistle and are topped by arch of thorny rose-branches ending in leaves and rosebud.
Frieze
Pittsburg W.P. Co., 1896 – 1915, 1896–1915
Machine-printed, die cut

Grape leaves on checked-panel type
Double Lattice Weave
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

The double lattice weave pattern is formed using a combination of thick and thin strips. The lines are created by perfectly even stripes that weave in and out to create the lattice appearance.
West India Docks, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1809
Aquatint, brush and watercolor on paper
Print

Sailboats along both sides of the channel. Warehouses, left. Men in rowboats on the water. Title, artists', and publisher's names below.
Study of Cliffs and Ocean with Dramatic Light
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Large wave crashing against rocks in left foreground. Large, dark cliffs behind, at left, in two sections. Bright light shining out from behind second cliff.
Ceiling paper
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper, liquid mica

All-over lattice pattern of stylized floral motif and foliate scrolls. Small four petal flower in center of square spaces. Background of metallic white oval dots. Beige ground. Printed in tan, dark beige, beige-green, white and white liquid mica. Printed in selvedge: " Carey Bros. W. P. Mfg Co." Pattern number "217"
Rectangular Komon Motif
, late 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

Tiny rectangles perfectly lined up form a typical komon motif. Within the rectangle is a tiny hole punched out. This type of design would be popular among all the classes during the Edo period.
Sidewall
, 18th–early 19th century
Block printed

large foliage pattern(blue-green and black) with red flowers on white background (first layer of wall #1)
Corner fragment
, 18th century
linen Technique: bobbin lace, Brussels style

Fragment of Brussels-style lace.
Het Loo Palace, Staircase
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1700
Etching on white laid paper
Print

Design for the interior of a building. In the foreground, a staircase leads up to a balcony with columns and sculptural elements. Three figures are pictured in the center of the balcony. The opens up to the outside and there is a view of the landscape. The ceiling has a large oculus.
Matchsafe
, late 19th century
Shaped tortoiseshell, bone, gold, metal

Rectangular, rounded corners, with tortiseshell veneer over bone. Where bottom edge of lid meets upper egde of box body are seams of bone. Round gold release button on side. Lid hinged on opposite side. Striker recessed into box bottom.
Study of "Courage" for Memorial Window to Jacob Dolson Cox, Oberlin College, Oberlin, OH
Kenyon Cox, American, 1856–1919, 1901
Brush and oil paint on canvas
Drawing

Study for a memorial window for the artist's father, Jacob Dolson Cox (1828-1900).  The figure of Courage is represented by a standing medieval warrior in armor, grasping a shield, against a background of stylized oak foliage, symbolizing strength and fortitude.
Frieze
Liberty Paper & Bag Co., 1905–1915
Machine-printed paper, liquid mica

Borders printed two across the width (mirrored). Floral swag with purple flowers, underneath which are a scalloped treillage pattern and green panel with moiret, divided by waving lines. Ground is white. Printed in purples, greens, white mica. 
Printed in selvedge: "Standard Papers"
Tea Urn in the Shape of Atlas Supporting the World
Thomas Heming, English, 1723 – 1801, 1777
silver, metal (interior cylinder), wood (base)
tea urn

Tea urn in the form of Atlas supporting the world. Triangular base (a) with openwork decoration, on three ball feet, supporting kneeling figure of Atlas holding a spherical urn (b) on his shoulders. Urn relief decoration featuring four wreathed circular medallions, each suspended from a bow and showing one of four allegorical figures of the continents (Europe, Asia, America, and Africa) with attributes. Embossed acanthus leaves supporting two ring handles. Two pendant laurel leaf tassels, each with oval medallion showing a female head in profile. One pendant tassel conceals a spout; its moveable medallion covers a keyhole. Slightly domed lid (c) engraved with heraldic lion sejant, and moveable laurel leaf finial with perforated stem at center. Interior cylinder (for heating liquid) is base metal.
Sling
, 700–900
maguey fibers Technique: braided Label: braided maguey fiber

Knotted cords attached to diamond-shaped panel formed of braided cord; loop at end of one cord; end of other cord fringed.
Panel
, 18th century
linen Technique: needlework on knotted net

Horizontal band with a couple standing below a crown supported by winged figures. Peacocks and birds in trees on either side.
Fragment
, 17th century
linen Technique: bobbin lace, continuous braid-like

Border fragment of two rounded pendants.
Four Left Halves of Escutcheons
Gilles-Marie Oppenord, French, 1672–1742, 1692–99
Pencil, pen and brown ink with grey wash, partial framing line in red chalk
Album page

Horizontal rectangle.

Recto: Four left halves of escutcheons decorated with scrolls, leaves and surmounted by crowns. One shows a half-female-half-lion, another a head over a crescent and spear-head. 

Verso: Interlacing pattern of band-work, probably intended to be carried out in marble or wood flooring. The ground is indicated in shading, perhaps a suggestion for Suite XIV, plate 1.

One sheet of paper drawn on recto and verso, mounted onto an album page with window cutout to see verso.
Woman's headdress
, 19th century
silk, metal Technique: embroidered in brick stitch on plain weave

Soft cream panel of creped silk, embroidered at each end in gold thread in a pattern of three large, identical bouquets with crescent leaves, round blooms, and a tulip center.
Frieze
Pittsburg W.P. Co., 1896 – 1915, 1905–1915
Machine-printed paper, liquid mica

Borders printed two across the width(mirror). Floral and ribbon swags with multiple mosaic-like patterns. Floral bouquets suspend from swags and are surrounded by a blue-green and cream botchy vertical line pattern. Secondary smaller floral swags suspend from thin striping at top. Pink ground shades from light on the top and bottom to a dark band in the center. Printed in selvedge: "Pittsburg W. P. Co. New Brighton PA." "XXII3" "W".
Sidewall
, 1860–70
Machine-printed paper

Small oval medallion with beading containing bouquet of purple flowers. Medallion is surrounded by foliate and ribbon filigree. Printed on light gray ground.
Study of a Young Bishop in Adoration
Carlo Maratti, Italian, 1625 - 1713, late 17th century
Red and white chalk on rough grey paper
Drawing

Vertical rectangle. A kneeling bishop is shown in profile, facing right. He wears an embroidered cape and carries a pastoral staff, whose upper part is not shown. Details of the head and hands in the upper margins, and a detail of the drapery on the left margin.
Cloud Sketch
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil on paperboard
Drawing

Landscape and atmosphere sketch showing the veiled light of the setting sun piercing through clouds and illuminating a reddish-brown wooded landscape. Sunlight shines through the clouds along horizontal line midway up composition.
High Clouds across the Hudson
Frederic Edwin Church, American, 1826–1900, June 1870
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing a view of view of Hudson Valley, looking southwest from the artist's estate near Hudson, New York. Billowing thunder clouds illuminated in a rosy pink by the setting sun's light rise in the background. A wide portion of the Hudson River is visible in middle distance at center and right. Green woods and meadows of Long Hill and Hudson's east bank included in foreground.
Design for a Chimneypiece with Alternative Suggestions
, 1770–1775
Red crayon, pen, ink, wash, sepia on paper
Drawing

Women are suggested standing in front of pilaster stripes. Their poses are different; to the left one supports an Ionic capital, the right one the entablature which projects near corners. A medallion in the center, flanked by a crouching sphonx with a rinceaux tail, at left, and by festoons and braces at right is suggested for the frieze over the opening. A candlestick in the shape of an urn with arms stands upon the left corner. The lower part of a looking glass and a candlestick in a different shape from the left one, at right, are roughly sketched.
GONDOLE
Richard de Lalonde, French, active 1780–96, 1780-1796
Etching on off-white laid paper
Print

Profile and front view of a design for a carriage seat decorated with ornament motifs including rosettes and floral bouquets. The plate is signed and numbered.
Clock with Stand
, ca. 1770s
copper, enamel, gilt bronze, glass
clock

Green enamel body with five points graduating upwards from each end to center, decorated on obverse with landscape, on reverse with still life, surrounded with rocaille arabesques and flowers.   Furnished with watch movement with plain white enamelled face, surrounded by alternating red and green brilliants.
Band
, 17th century
silk on linen Technique: embroidered on plain weave

Floral group facing alternately up and down with one central branch.
Plan du premier Etage du Kiosque, ou Bâtiment à la Turque
Emmanuel Héré de Corny, French, 1705–1763, 1753
Engraving on laid paper
Bound print

Plan of the first floor of the kiosk, with the rooms labeled "Chambre ou sont les Reservoirs d'eau chaude ou froide," "Baignoire," "Garderobe," "Cabinet," "Petite Gallerie,"  "Sallon du [...] de Fayance," "Niche," "Logement," and "Tribune pour les Musiciens." At the bottom of the page is a scale bar of "4 Toises de Roy."
Arch of Septimius Severus from "Vedute di Roma"
Giovanni Battista Piranesi, Italian, 1720–1778, 1759
Etching
Print

Horizontal Rectangle. Arch of Septimus Severus in center at mid-distance. Right: the church, SS Martina e Lucca; left foreground, column of PHOCAS; lower right, "Piranesi Architetto fec."; title, in center; text along left margin: "Erario antic ... al campidoglio". Lower right: "Presso l'autore a Strada Felice...a paoli due e mezzo".
Coffeepot
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 19th century
hard paste porcelain, vitreous enamel
coffeepot

Pear-shaped, rib handle, funnel-spout. Domed cover with floral knob. Painted in colors with naturalistic flowers. Spout and handle touched with purple and green. Brown rim on lid. Rounded stepped foot.
Sampler
Elizabeth Gouger, 1751
silk embroidery, wool foundation Technique: cross and counted satin stitches on plain weave

The Lord's Prayer, baskets of flowers with birds, and signature "Elizabeth Gouger her work in the XI year of her age 1751." Floral border.
Stage Design, Egyptian Temple
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Court in Egyptian temple with sculptures and elaborate decoration. Two figures in middleground at right ascend staircase.
Skewer with Twisted Dagger-hilt Terminal
, 19th century
silver
skewer

Tapering, pointed, flat blade with relief cast twisted dagger-hilt handle.
Scene from Acts of the Apostles, after Stradanus
Jan van der Straet, called Stradanus, Flemish, 1523–1605, 17th century
Pen and ink, brush and wash on paper
Drawing

Radiant holy spirit surrounded by adoring angels and kneeling figures.
Cape for an ecclesiastical figurine
, mid-19th century
silk, glass beads Technique: ribbed plain weave, embroidered with glass beads; lined with twill

Small cape for an ecclesiatic figure, the "Bambino". Blue silk grosgrain with grapevine design embroidered in white and cream coloured glass beads and silver sequins along the edge. Lined with blue silk twill.
Designs for Ornament Motifs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white laid paper
Print

Designs for rocaille ornament motifs, featuring scrolls, rinceaux, and garland. The plate is signed and numbered.
Design for a Frame
Pierre Ranson, French, 1736–1786, 1778
Etching on paper
Album of frames

Design for an oval frame or medallion decorated with acanthus leaf molding, laurel leaf festoon, flowers and foliate branches.
Fragment
, late 19th century
wool, cotton Techinque: printed on plain weave

Dark brown ground with powdered design of trefoil in light browns and three berries (?) and leaves in green, purple and white.
Fragment
, 3rd–4th century
Warp; S-spun linen, Wefts; S-spun linen, S-spun wool. Technique: slit tapestry with supplementary weft wrapping

Small fragment depicting a leaf.
Napkin
, 1710–50
linen Technique: damask

Mounted horseman over a town illustrating the siege of Lille by Prince Eugene of Savoy in 1708.