biglam/cooper-hewitt-alt-text huggingface dataset:
Sampler
, 19th century
cotton, silk Technique: embroidered on plain weave

Fine stem stitch outlines two coronets, a crest, in blue. The initials W, S punched with buttonhole stitch. AK, JAV, and scrolls printed in blue. Drawn work borders.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Floral quatrefoil motifs enframed by scrolling and curling lines which create a grid or trellis pattern. Printed in blue, gray mica, and black on very light tan or off-white ground.
Textile
, 1830–40
cotton Technique: printed by engraved roller or engraved copper plate on close tabby weave

Printed fabric with a bright red background, with a design in yellow, printed in a drop repeat pattern. Design of symmetrical arrangement, late classic influence. Shows confronted swans with pearls in beaks; below and above, palmette, foliage, rosettes, etc. Fragment shows two repeats across, third interrupted. Right selvage present.
Certificate of Authorization for the Title of "Von" for Johann Ferdinand Richter
Franz Mayer, Austrian, active 1700s, April 7, 1785
Pen and ink, brush and watercolor over engraving on vellum, bound in velvet-covered boards with imperial seal in brass case
Calligraphy

Consists of seventeen pages of text, including illumination of arms, giving a brief history of Richter (he joined the Austrian army in 1754; saw service 1757-63).  Signed by Emperor Josef and counter-signed by Tobias Philip, Freiher von Coblentz.  Imperial seal case is attached by a silk cord to the book.  Past-paper book papers used as end papers.
Brodiaea Congesta, brodiaea Grandiflora, Milla Laxa (Friteleia laxa-Seubertia Laxa), Plate 112 from A. C. Van Eeden's "Flora of Haarlem"
Arentine H. Arendsen, Dutch, 1836 - 1915, ca. 1881
Chromolithograph on paper
Print

Disbound color plate "Brodiaea Congesta, brodiaea Grandiflora, Milla Laxa (Friteleia laxa-Seubertia Laxa)" from A. C. Van Eeden's "Flora of Haarlem."
Mount
, early 19th century
Gilt bronze

Architectural or funiture cornice with lapped tongue decoration of acanthus corners over frieze of pendant tongues over cut-out with laurel decoration
Architectural Sketches of El Khasné, Petra, Jordan
Frederic Edwin Church, American, 1826–1900, February 24-27, 1868
Graphite, brush and white gouache on gray-green paper
Drawing

Architecture sketches showing a view of the rock-carved structure known as El Khasné in Petra, and several details from its façade. Prominently situated at center, the façade of El Khasné (also known as "The Treasury") is shown obliquely with the banded cliffside out of which it is hewn extending to the left and right. The structure's two-story façade is shown in some detail, with its colonnade and pediment on the ground level, and niches with sculptures and a broken pediment on the second level. At upper left, the urn atop the second story cylindrical feature is sketched in detail beside other Corinthian details. At lower left, portions of the entablature and pediment are shown, while at lower right, the capitals of Corinthian columns are included beside a detail of a broken column.
Galerie métallique des grands hommes français (Great Men of France)
Jean-Auguste Barre, French, 1793 - 1855, 1833
Cast bronze
Medal

Busts of Benjamin Franklin (1706 -1790) and Antoine Jean Baptiste Robert Auget, Baron de Montyon (1733 -1820).
Lit à la Polonoise préparé de Menuiserie
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the joinery for the "lit à la Polonoise" (1921-6-279-7), including for the canopy and frame. The plate is signed and numbered.
Escutcheon as an overdoor
Giuseppe Barberi, Italian, 1746–1809, ca. 1775
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

An escutcheon in 17th century style, with a head above in the interval between scrolls, is supported by two sitting children, connected by festoons. The upper parts of two crossed cornucopias are on top, supporting a crown. Below is the upper part of the door case. Usual background.
Schoodic Point from Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, probably July–September 1850
Oil an graphite on cardboard
drawing

Landscape sketch showing a view of Schoodic Point from the east coast of Mt. Desert Island in Maine, possibly near Schooner Head. In the foreground, one wave arches through a small cove and begins to break into whitewater at lower center. At lower left, small stones curve around the coastline and lead to rocky point with craggy cliffs that extend into the scene at center left. Two confier trees surmount the cliff. Across the body of water in the middle distance--known as the Mt. Desert Narrows--the rollings hills of Schoodic Point are visible in the background through a hazy atmosphere. Above, some wispy clouds hang in an otherwise open sky. The brick-colored ground is visible along the lower margin.
Cardamom and Arrowroot Sketches, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Graphite on gray-green wove paper
Drawing

Botanical sketch showing views of cardamom and arrowroot plants in Jamaica. At right, the arrowroot, with its many ribbed leaves, is visible. At left, the stalky, leafy form of a cardamom plant is shown.
Peasant's Houses at a Lake
Eugène Edouard Soulès, French, 1811–1876, ca. 1840
Graphite on paper
Drawing

The lake is at right, in the background. The houses stretch from left to right. Framing lines.
Stage Design, Egyptian Prison
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. View of Egyptian hall with two sphinxes on pedestals at left and right, wooden bars at center.
One of a set of projects for a title page and decoration of a horizontal panel
Francesco Bedeschini, Italian, 1675-1699
Pen, brush, sepia
Drawing

The panel an elaborated frame, the outermost borderline of which is framing the drawing. Two putti and a blossoming flower. Intented to be engraved
Trophy Designs
Pierre Ranson, French, 1736–1786, 1779–90
Etching on paper
Print

Six designs for pastoral and love themed trophies incorporating flowers, festoons of flowers and leaves, quiver of arrows, flaming torches, bows, baskets of fruit, books, hats, sword, quill, and a lyre. The plate is numbered.
Vue du Chateau de St. Germain en Laye (View of Saint Germain-en-Laye Palace)
Chez Daumont, active 18th century, 
Hand-colored etching on paper; verso: fabric adhered with thread
Bound print

Perspective view of Saint Germain-en-Laye Palace, with a wall topped by balustrades in front. The rectangular palace sits at center, with smaller structures on either side. The windows are cut out, with thread and colored fabric visible through the openings. Small groupings of figures, two dogs, and a carriage populate the foreground. Two high walls frame the composition, and a blue sky extends across the top margin.

Verso: Patches of colored fabric. Print label: Vue du Chateau de St. Germain en Laye. / a Paris chez Daumont rue St. Martin.
La Patte d’Oye des Avenües de Chantilly en face du Pavillon de Silvie (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on a single sheet, one above the other, depicting the gardens at Chantilly. The upper plate shows trellis/lattice walls framing pathways with arches and trees. Figures and a sedan chair throughout. The lower plate illustrates a view of an arched gate with smooth-faced horizontal rustication and a balustrade above and garden walls. Another gate visible in the distance. Figures along the paths. The plates are titled.
Design for Seven Metal Book Clasps
, 1780-1800
Engraving with etching on paper
Print

First plate of a set. The designs are numbered 1 to 6, the first two belonging together. They represent the Evangelists together with Moses and Aaron. Design 2 includes three medallions with female heads. Designs 3 to 6 without figural motifs.
Design for a Waistcoat
, 1780-1790
Black chalk, pen, ink, and various gouaches on paper, pricked
Drawing

Design for embroidery at the border of a man's waistcoat. Scheme of the design similar to -190. A bunch of flowers decorates the field beneath the pocket. A flower bough beside the pocket is roughly sketched. A border of halves of blossoms alternating with leaves stands upon the edge of the waistcoat.
The Gods Representing the Planets
Thomas Christian Winck, German, 1738–1797, 1770
Etching and engraving on off-white laid paper
Print

Scene of mythology, depicting various god and goddesses including Venus, Artemis, and Apollo as the planets, lounging among the clouds.
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At right, half an escutcheon with scrolling acanthus leaves. At left, two putto, one holding a torch.
Title page
Hugues Brisville, French, active ca. 1663, 1662
Engraving on laid paper
Print

Vertical rectangle showing title and dedication within a cartouche composed of interlacing lines. At top center, the Longuet coat-of-arms and mask. At bottom, a lion mask and landscape.
Three Friezes
Felice Giani, Italian, 1758–1823, ca. 1800
Pen and dark brown ink, brush and brown wash on laid paper
Drawing

Upper row, left: bearded and foliated masks connected by festoons. At right, horizontal bar surrounded by waved vine branch. Bottom row: row of festoons hanging from disks in center of bow-knots. Above, festoons as tablets with inscriptions. Winged sphinx shown in profile, partly outlined.
Design For the Embroidery of a Man's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Graphic, brush and white gouache on paper
Drawing

The left bottom corner is shown. Roses combined with fantastical flowers, and small plants, grow from the border lines. A bunch of flowers at the pocket.
Livre d'architecture, contenant les principes généraux de cet art, et les plans, élévations et profils de quelques-uns des bâtimens faits en France et dans les pays étrangers, par le sieur Boffrand
Germain Boffrand, French, 1667–1754, 1745
Black ink on cream laid paper
Book

Germain Boffrand was a highly influential French architect of the 18th century. He was responsible for numerous buildings and commissions in Paris, Lorraine and modern day Germany. Many of these are shown in his monumental treatise "Livre d'architecture" which helped disseminate the French neoclassical Louis XV style throughout Europe. The high quality engravings are preceded by a discussion of the definition of "good taste" in the arts. This is then supported by the examples Boffrand illustrates through image and text.
Buttons
, 19th century
nickel plate on brass

three fleur-de-lis on shield surrounded by chain with Maltese Cross and surmounted with Imperial Crown.

Component -c is on card H
Fireplace fenders
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash, graphite on off-white laid paper
Drawing

Fireplace fenders.
Hanging Wall Stoup with Angel
, 1815–1870
silver
stoup

An angel stands upon clouds in front of a scrollwork escutcheon with a glory of rays. He holds an aspergillum in his raised right hand, and the bowl in his left. The bowl is suspended on three chains which are fastened to cherubim who are applied to the brim of the bowl.
Cartouche with Lion
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Blank cartouche framed with a lion holding a bow; a quiver of arrows is to the left. Background view of the sea with fishing boats.
Fragment
, 16th–17th century
silk, cotton Technique: plain weave with warp float patterning

Fragment of a woven fabric with white and yellow stripes containing lozenge and eagle motifs; guard stripes with stylized vine ornament.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design of symmetrical grotesque ornamentation featuring masks, vines, portrait medallions, strapwork, sphinxes, foliate scrolls, and winged female terms supporting a baldachin under and apse, below which a seated, lightly draped woman sits on a throne . The plate is signed and lettered "D."
Designs for Frames
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and sepia wash on off-white laid paper
Drawing

Vertical rectangle. Upper row: project and sketch for the cresting of a medallion frame: shape of a garland, with a bowknot. At right: plan of a moulding. Center: upper left part of a molded oblong frame. Below: sketch of the oval frame. Probably drawn over it is a project for its crating, similar to above at left. Below at left is a sketch for the slopes of a garland. Colored background.
Beaker with "Hausmaler" Decor
Meissen Porcelain Manufactory, German, active from 1710 to the present, 1725–1730
hard paste porcelain, gold
beaker

Bell shaped with ring foot. Engraved gilt chinoiserie decoration of figure, trees, birds and scrolls.
Distant Coastline, Mexico
Frederic Edwin Church, American, 1826–1900, probably 1890–93
Graphite on white wove paper
Drawing

Landscape sketch showing a view of a distant, hilly coastline in Mexico from the sea. The water's featureless surface extends from the foreground into the background, where it encounters a dark and hilly coastline that creates a high horizon straight across the composition. Taller group of hills at left.
Great Basin of Mt. Katahdin, Maine, Part Three
Frederic Edwin Church, American, 1826–1900, September 1877
Graphite and oxidized white gouache on gray-green wove paper
Drawing

Landscape sketch showing the central portion of a three-part panoramic view of the Great Basin of Mt. Katahdin in Maine. Viewed from the northern shore of Chimney Pond, the lower portion of the composition shows the tops of numerous conifer trees on the opposite shore of the pond. Beyond, the northwest interior wall of Katahdin's Great Basin wraps around us, encompassing the entire view. The walls of the basin are extremely craggy and rocky, and partially covered in vegetation. Oxidized white gouache highlights water and small cascades around the scene. Together with Hamlin Ridge at center right, the rugged northern ridge of Katahdin forms a high, serrated horizon. Sharp pinnacles visible throughout.
Portrait of Cardinal Emmanuel-Théodore de la Tour-d'Auvergne, duc d'Abret (1644-1715)
Antoine Masson, 1665
Engraving on paper
Print

Bust length portrait, turned toward the left, the head shown in three-quarter view, looking out at the spectator. Enclosed in oval frame. Coat of arms in escutcheon below. At lower left: "N. Mignard pinxit." At lower right: "Ant. Masson sculpebat 1665." Inscribed in frame: "EMMANVEL THEODOSIVS DE LA TOUR DAVVERGNE DVX DALBRET.."
Design for an andiron
Pierre Gouthière, French, 1740 - 1806, 1775-1781
Pen and ink, graphite on paper
Drawing

An eagle holding a thunderbolt sits on the bottom of a fluted column. Intertwined waved bands connect the column with an urn atop a pilaster.
Four Antique Goddesses
Felice Giani, Italian, 1758–1823, after 1850
Pen and brown ink, black chalk on wove paper
Drawing

Vertical rectangle. Top row: "Diana." The goddess runs with the bow toward right. A boy with the quiver runs before her. Second row: "Giunone e Giove." A standing woman with a disk, between a book at left, a candelabrum at right. third row: "Venere e marte." The three graces between a trophy of arms at left, a pair of doves at right. Bottom row: returno e galatea." Galatea riding in a shell drawn by dolphins. Reverse, horizontally, Venus and Mars, sitting upon a bed.
Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four rosette designs. The rosette at upper left is in a squared form; all others are round. The plate is signed and numbered.
Elevation of a Church for Monte Vergine
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash, red ink on lined off-white laid paper
Drawing

Cross scheme with apsides. Doric order. Altar in the rear. Two columns at the frontside of the apsis. Dome, under saddle roof.
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. Above a disk, below three drops, each with two rows of disks, a jour, between scrolls of ribbon. In the center a knot with a central blossom and two flower stems. Bevelled corners.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design filled with symmetrical, grotesque ornaments. In the center is a woman in a throne, with figures featuring Asiatic attributes at her side or approaching. Holding up the ornamental architecture are four terms with figural pairs based on the four continents (from left to right: Africa, America, Europe, Asia). The plate is signed and has Thuret's publication information printed at the bottom.
Vignette, The Pelican in the Crown of Thorns
Jakob Frey, Swiss, active Italy, 1681 - 1752, ca. 1715
Engraving with etching on paper
Print

Laurel and palm branches frame an ovoid, on top of which a cross with stars in the angles is shown.
Motif for Bank Note Design
Walter Shirlaw, American, b. Scotland, 1838–1909, ca. 1895
Graphite on paper
Drawing

A female winged genius, shown from the front. She raises a torch with her right hand, her left hand holds a branch.
Four Balustrade Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching and engraving on laid paper
Print

Four wrought iron balustrade designs for balconies featuring geometric patterns and shapes, acanthus leaves, flowers, leaves, and running pattern moldings. The plate is numbered.
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, snakes, eagle, foliate branches, rosettes, fruit, and a faun. The plate is numbered.
Mountains in Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of a mountain ridge and the intervening valley, enveloped in fog. Above the brown mountains, a deep blue sky features both thin and billowing clouds near the ridgeline. Some nearby foliage visible in foreground at lower right.
Tablette d appui de Croisée avec soupirail
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for two windowsills supported by scrolling brackets with wells at the base. The plate is signed.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with vases, candelabra, cartouches, terms, rosettes, trophies, shells, sphinxes, a rondel with a scene of antiquity, and garlands. Between the chimneypieces is a panel with a console table, a mirror, and a rondel with a scene of Minerva. The plate is signed and numbered.
Plan de l’Hostel de la Basignere
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floorplan for a hôtel particulier (grand house), with staircases, rooms, and corridors. The plate is titled and signed, with a scale below.
Edging
, 19th century
cotton Technique: bobbin lace (Valenciennes ground)

Narrow edge lace with shallow scallops and small detached leaf motif on a diamond mesh.
Shawl
, 1883
silk Technique: plain weave

Broad sash of vertically ribbed silk plain cloth. Broad horizontal stripes of pink, blue and white. Narrow horizontal stripes of pink, blue, yellow, black, and white. Ends have long knotted blue fringe formed by warp ends.
Détails de la Sculpture du Dossier, du Profil, et de la Devanture du Fauteuil A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Elevation and profile of the armchair in 1921-6-331-44, with details of the carving on the chair frame. The plate is signed and numbered.
Landscape Sketches near Florence, Italy
Frederic Edwin Church, American, 1826–1900, September 1868
Graphite on gray-green wove paper; verso: graphite
Drawing

Split landscape sketches showing two separate views of mountainous landscapes. At left, a cleft or narrow gorge is shown cutting through a rocky, sheer mountain range. At right, a stone bridge with four arches in the fourground stands beside a house and spans a wide river, while, in the background, a rocky, pyramidal peak looms over the landscape. 

Verso: Architectural sketches of the Loggia del Bigallo and the Pazzi Chapel in Florence, Italy. At center, the north-facing facade of the Loggia del Biggallo is shown, with its tall, arched opening below three portraits set within gothic niches. Below, and oppositely oriented, a fine sketch of the interior dome of the Pazzi Chapel is included.
Fragment
, 17th century
linen, wool Technique: two interconnected structures

Flowers and curling leaves in salmon and white.
Elevation of Interior Wall Decoration with Fireplace
Johann Michael Hoppenhaupt II, German, 1709–ca. 1778, 1753
Etching and engraving on white laid paper
Print

Elevation of an interior with a central chimneypiece with an overmantel mirror. On either side are sets of double doors; their transoms feature hunting dogs. The panels between the doors and mirror feature trophies with attributes of the hunt. The panels, door frames, chairs are all decorated with rocaille ornamentation. The plate is signed.
The elevation of the lower central part of a town mansion
Filippo Marchionni, Italian, 1732–1805, 1770–85
Graphite, brush and gray watercolor on paper
Drawing

Below is the gate with escutcheon with a crown between two sitting women above the arch. The shafts of the pillars, the attached columns and the arch are in rustic work. In the frieze of the escutcheon is a festoon; above the entablature is a balustrade between two pedestals with statues bordering a small balcony in front of a door in the second floor.
Sampler
, 18th century
linen, silk, paper Technique: canvas, tent, Gobelin, and rococo stitches

Sampler divided into seven compartments; five showing geometric designs and two floral. Mounted on heavy paper and bound with white silk ribbon, bows at three corners. One ribbon missing.
Stage Design, Roman Baths
Antonio Giuseppe Basoli, Italian, 1774–1843, 1810–30
Pen and black ink, brush and gray and black wash on paper
Drawing

Horizontal rectangle. Interior of antique Roman Thermae (baths), richly decorated with coffered ceilings, sculptures, columns, and frieze. Groups of women bathing.
Window
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of a window alcove with paneled wall.
Teapot
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th century
hard paste porcelain, vitreous enamel, gold
teapot

Globular body, scrolled strap handle; spout terminating in a dog's head; cover with flower in high relief, round the base of which is a metal ring.  Body yellow, with two shaped panels outlined in gold and black bands, of white reserve with bouquets of flowers; smaller panels on cover.
Three chalices
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left: the foot is decorated with two cherubim. The stem is a floated baluster. The lower part of the bowl is decorated with leaves. Center: a richer, decorated variation of the same motif. Cherubim are connected by festoons and are in front of flutes. At right: a variation of the upper part of the stem and the bowl of the central project. Below, the bowl has a row of cherubim. A sketch of the left side of the bowl is partly drawn over the project in ink. Left of it is a sketch, in ink, of a stem, a baluster, and the lower part of the bowl. Usual background.