biglam/cooper-hewitt-alt-text huggingface dataset:
Frieze
Standard Wall-Paper Company, Standard Wall-Paper Company, Sandy Hill, New York, 1905–1915
Machine-printed paper

A repetitive series of laurel leaf-formed medallions enclosing gilt floral bouquets, connected by a double row of connected laurel leaves and three rows of "pearls" upon a beige ground with overlay of a veil-like design. All between borders consisting of a row of pearls strips of colors complementary to the design.
Fireplace
, 16th century
Etching on paper
Print

Highly ornamented fireplace with figures, animals, and vegetal forms.
Sketchbook Page: Caricature
Kenyon Cox, American, 1856–1919, 1883
Graphite on paper
Sketchbook folio

Caricature of a man with a hat and mustache in profile, facing left.
Candlestick
, ca. 1790
glass

Tall double-knopped shaft on domed, stepped base with thick square foot, bulbous nozzle, wide drip pan with up-turned edge cut with vertical flutes;removable brass drip pans; glass clear and heavy; shaft leans to one side.
Rough Cliff Study
William Trost Richards, American, 1833–1905, 1890–1900
Pen and black ink on off-white wove paper
Sketchbook folio

Very light, quick sketch of cliff face.
Chintz
, 1770s
cotton Technique: mordants for black, 2 reds and 2 purples applied by pen and brush: yellow and blue applied by brush, used together for green; chintz on plain weave

Lace-like curves with floral sprays and bouquets. Design is a response to European fabrics of about 1760.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three cartouches, featuring, from top to bottom: a cartouche with branches and a shell; a cartouche with a man, dog, and horse; and a cartouche on a tomb. The plate is signed and numbered.
Six Designs for Ogees
C. C., French, active 19th c., 1811
Graphite, pen and black ink, brush and grey watercolor, black on light creamy paper
drawing

The right corners are shown in the four upper designs, top and third rows: with leaf bands; second and fourth rows with palmette bands. Bottom row, left: a detail with a leaf band, with standing acorns in the intervals. Bottom row, right: a right corner with the same decoration.
Project for Drapery
Romolo Achille Liverani, Italian, 1809 - 1872, 1809–1872
Pen and ink, brush and grey watercolor, pencil on paper
Drawing

Horizontal rectangle showing design for drapery with magnified view of pendant details.
An Artist Among Animals, Illustration for Scribner's Magazine (XIV, No. 6, December 1893, frontispiece)
Frederick Stuart Church, American, 1842–1924, 1893
Printed in black ink on paper
Ephemera

Article clipping from Scribner's Magazine, on Frederick Stuart Church and his creative process.
Sketchbook Page: Two Landscapes after Vincenzo Martinelli; Verso: Architectural Details
Felice Giani, Italian, 1758–1823, 1811–14
Pen and brown ink, brush and sepia wash over traces of graphite on laid paper
Drawing

Two mountain landscapes after Martinelli. Inscribed: Martinelli Bologna. Verso: Capital, Spiral, molding, keystone, coffer.
Plan Genéral des Batiments des Jardins et d’une partie des dependances d’un Projet fait sur L’emplacement de Donzdorf situé dans le Pays du Wirtemberg appartenant a Monsieur Le Baron de Rechberg Chambellant et Chr. de St. George au Servisse de S.A.S.E. de Baviere
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Plan of a garden with buildings featuring fountains with a description and a view of the exterior façade of the building below and coat of arms to the left. The plate is titled, numbered, signed, and dated.
Plate from Omnia Conando Docilis Solertia Vincit (A Docile Disposition will Conquers all Difficulty)
Paul Birckenhultz, German, 1561 - 1639, ca. 1600
Engraving, blackwork on laid paper
Print

Vertical rectangle showing a vase containing a symmetrical floral arrangement. The vase stand on a tray decorated with gadrooning and supported by grotesque lions and a mask.
Steeple in Baroque style
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Two stories with a dome. Pillars with statues in niches are disposed obliquely at the corners of the lower story, pairs of columns, with statues above the entablature are similarly disposed in the upper story. A window is at the front of the lower story. The upper one is like an open pavilion. An escutcheon is supported by two figures in front of the tambour. Colored background.
Portrait of Giambattista Bodoni (1740-1813)
, 1802
Engraving on paper
Print

Circular portrait of a form of a medal. Depicting the head only. In profile view.
Design for a Coronet
, 1825–50
Graphite, pen and ink, brush and watercolor, sepia on paper
Drawing

Above a metal strip two branches, each with two buds, two large leaves, and smaller ones entwined with a ribbon containing a row of circular diamonds.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon, graphite on laid paper
Drawing

Three sketches of a female figure's head and neck. That at left is in a small scale and shows a sketch of the body. The lower one in the right row is in the biggest scale of three designs and shows the outlines of the shoulder.
Trimming
, 19th century
silk Technique: woven

Red, green, blue, purple and yellow trimming fragment in a design of butterflies placed alternately up and down above a narrow band of broken lines. One picot edge.
Flore et l'Amour
François Boucher, French, 1703–1770, ca. 1750
Etching
Print

The allegorical figure of a Flora is seated nude, near a large vase in a landscape, and offers a crown of flowers to Cupid.
A Bearded Man Wearing a Velvet Cap with a Jewel Clasp
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, 1637
Etching on laid paper
Print

Bust length portrait of a bearded man, facing right, shown in three-quarters view. He wears a broad velvet cap with a jewel clasp.
Stage Curtain Design: Parnassus with Apollo and the Muses
, ca. 1812
Pen and brown ink brown, brush with wateroclor wash over black chalk and traces of graphite on laid paper.
Drawing

Vertical rectangle: Arcadian landscape. Foreground, personification of river source and person with wings writing. In the middle, Apollo and muses; in the back, temple. In foreground stage framing, lyre and altar. Squared for copying.
Fragment
, 16th–17th century
linen, cotton Technique: supplementary weft

Supplementary blue weft floating alternately face to face forming a design of confronted birds with long necks craning almost to the ground.
Une fontaine avec une naïade assise sur une conque
Jean Baptiste Marie Pierre, French, 1714–1789, ca. 1740
Etching on laid paper
Bound print

Scene of a fountain set in a lush landscape, with a naiad, a putto, and a dog on top of a rocaille fountain. The plate is signed.
Three Border Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Three bands of border designs, stacked horizontally on the page. The top border, with cross-section on the right, is comprised of alternating acanthus leaves and a band of beading, appearing roped around a vertical bar; the middle border features a strand of leaves; the bottom border, also with cross-section on the right, has a strand of bound laurel leaves over a base of beaded and planar bands. The plate is signed and numbered.
Vase
Wedgwood, English, established 1759, 1810–1830
stoneware (Black Basalt), enameled and painted decoration

Vase in lekythos shape. Flat handle, beading about neck, small foot. Floral decoration in Chinese style of chrysanthemums and leaves, with smaller flowers in colors. Dull red bands on edges of handle and about neck and mouth.
Cup
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1780
hard paste porcelain, vitreous enamel, gold
cup

1938-57-767-a: Cup has double-curved side, cylindrical foot, inte...;     1938-57-767-b: Cup has double-curved side, cylindrical foot, inte...
Coupe et Décoration du Sallon pour le Bâtiment Composite
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Cross section revealing the interior of a living room decorated in the Composite order. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Snuffbox Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

A design for a round snuffbox with rococo motifs. Above, a view of the lid with a central roundel scene with a putto sitting in a landscape with a dog surrounded by two repeating patterns of shells, feathers, fleurons, leaves, ribbons, cornucopias, and festoons of flowers. Below, a view of the side of the box with an oval cartouche featuring a hunting scene with animals in a landscape, framed by shells, scrolling foliage, fleurons, rinceaux and pearl motifs. There is an unnumbered scale below. The plate is numbered, signed, and dated.
Willow
, 1874
Block-printed on paper
Sidewall

Printed in white on white.
Design for andiron
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red, green watercolor, black wash, graphite, on cream laid paper
Drawing

Rectangular panel, incised with a diamond pattern, drapery below, is supported by two posts consisting of claw feet, a square panel, and a female Egyptian bust at top.
Burro, Barranquilla, Colombia
Frederic Edwin Church, American, 1826–1900, May 6, 1853
Oil and graphite on brown paperboard
Drawing

Figure sketch of a donkey in Barranquilla, Colombia. With its delicate grey-brown coat, the donkey stands in almost perfect left profile. The ground below it, with indistinct detritus, is hastily rendered. A contour sketch of the donkey's head in right profile with its mouth agape is included at upper right.
Moutardier
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a mustard pot decorated with ornament motifs including shells, rinceaux, and leaves. The plate is signed and numbered.
Verroux ou Targettes ornés de Ciselure
Richard de Lalonde, French, active 1780–96, 1775-1784
Etching on off-white laid paper
Print

Three lock or latch designs with acanthus leaf, scroll, and rosette ornamentation. The plate is signed and numbered.
Chimney Piece Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for a chimney piece (fireplace, mantel and overmantel) with classical motifs. The mantel is framed by sculpted moldings with fluting, leaf and scrolling grape vine repeating patterns. The overmantel features a frieze with classical figures framed by a mask (mascaron), festoon of leaves and flowers, flaming vases, and topped with a round medallion featuring a landscape with classical architecture framed by fleurs-de-lis, festoon of leaves, a winged angel, vases, crowns, cornucopia, and the French Royal coat of arms. A scale below. The plate is numbered.
Panneau avec Porte
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for wall panels with a door at center. The panel above the door features a portrait medallion with draped garland. The plate is signed.
Fragment
, 18th century
silk Technique: plain compound satin

Horizontal rows of white botehs on blue ground.
Mountain Landscape at Sunset
Frederic Edwin Church, American, 1826–1900, 1850–56
Brush and oil, graphite on cardboard
Drawing

Landscape sketch showing view of mountain valley at sunset (or possibly sunrise) bounded by two rugged ridges. Stream and bank in foreground extend into green, wooded valley in middle distance at center and left. Mountains on either side are rugged and, at right, crowned with rocky cliffs. Clouds above are illuminated pink and magenta by the light of the setting sun, which also falls on the mountaintop at right.
Calice
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical chalice decorated with ornament motifs including ribbons, grapes, cherubs, clouds, and rinceaux. The plate is signed and numbered.
Design for a Ceiling in a Church
Matthäus Günther, German, 1705 – 1788, 1700–1750
Pen and black ink, brush and brown and black washes on off-white laid paper, laid down
Drawing

Shows Christ in glory flanked by two figures (Mary and John) above. Below, figures appear to be raised from the dead. Subject could possibly be a Last Judgment, or The Descent into Hell"
LE PONT-NEUF
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the bridge the Pont neuf in Paris with the river Seine in the center, and other bridges in the background. Buildings, such as the Palace of the Louvre, are visible on either side of the river. Barges, boats, and figures on the river. The streets are filled with people and carriages. A description of the bridge is lettered below. Details are lettered with an explanatory legend below. The plate is titled and signed.
Apotheosis of Franklin
, ca. 1780
linen warp, cotton weft Technique: copperplate printed on plain weave
Textile

One of four fragments of cotton, copperplate printed in red design known as American Independence, Apotheosis of Franklin, etc. The design shows Washington in a chariot drawn by leopards, standing and behind him a female figure holding a shield on which "American Independence 1776" is inscribed.  Franklin is shown with a female figure carrying a liberty cap on the staff; above them a scroll: "Where Liberty Dwells There is my Country."
Design for an Embroidered Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1825
Incised lines, brush and white, yellow, and lateritious gouache, graphite on glazed tracing paper
Drawing

Two staggered garlands are shown over a moulding, under which a row of drops and scalloped lambrequins are separated from a staff around which two chains of beads are wound. Lozenges docorate lambrequins.
At the coast
Howard Russell Butler, American, 1856 - 1934, 1880–90
Black crayon. Creamy paper
Drawing

Horizontal rectangle. Sand is in the foreground bordered at the back by a row of boulders. Ships and possibly a lighthouse are shown at left in the middle plane. A shoreline and possibly an island are in the background.
Study for "The Beneficence of the Law," Essex County Courthouse, Newark, NJ
Kenyon Cox, American, 1856–1919, 1906
Graphite on paper
Drawing

Two sketches of a bird.
One of Two Paintings by Titian in the Church of the Corpus Christi
Titian, Italian, ca. 1488 - 1576, 1761
Red chalk on paper
Drawing

Below, left: Vus de due Quadretti di Tiziano, che sous riel Corpus d.[??] Urbino 107… (One of the two paintings by Titian with Church of the Corpus Christi in Urbino 107)
Trimming
, 19th century
silk Technique: woven

Ivory, pink and yellow trimming fragment in a design of leaf motifs placed alternately up and down and separated by a curving band ornamented with flowers.
Mount Chocorua on Way to Whitton Pond
Daniel Huntington, American, 1816–1906, September 26, 1879
Graphite on paper
Drawing

Peak of Mt. Chocorua sketched on the way to Whitton Pond. Verso: Sketch of the shoulders of Mt. Chocorua.
Designs for a Sofa, Armchair, Console Table, Console Looking Glass
, 1815–30
Graphite on cream wove paper
Drawing

Design for sofa at left, chair in center, both shown obliquely from the front corners. The sofa is supported at the front by four lion feet. The lower ends of the arms of the sofa stand upon the heads of crouching winged lions with scrolls as foils. The seat and the back are upholstered, the latter in three sections which are framed by poles with lion heads carrying wings, on top. The chair is of a similar design, but the legs and the arms are without animal forms. At right is, vertically, the right half of a console table. The top is shaped like an entablature. It is supported at the corner by a lion chimaera, in the center by a pilaster. Something is shown standing upon the table. Vertically at upper right is the left half of a console table with looking glass. The console consists of a back side and the supports formed by pairs of winged lion chimaerae standing with the backs to one another. The upper part forms an entablature. The height is indicated as in 1938-88-546: "p. rom 422". The frame of the mirror is supported by pairs of claws. It has laterally columns with a row of female heads below the capitals. Knobs are laterally on top. Above the inner frame is a decorated frieze.
Trophy Design
P. Moithey, French, active 18th century, mid- 18th–late 18th century
Etching on laid paper
Print

A design for an ecclesiastical hanging trophy incorporating religious headgear such as mitres, and a galero (large-brimmed cardinal's hat), a crucifix, crosses, thurible, an open book, a monstrance, and a candlestick, intertwined with palm leaves, foliate branches, and ribbons. Another copy of this print in red ink is bound within the same album (1921-6-363-3). The plate is numbered and signed
Design for a Garden
Jean-François de Neufforge, Flemish, 1714 – 1791, 1772
Engraving on paper
Print

Design for a garden with a scale bar of 6 Toises at the bottom. The plate is signed and numbered.
Wooded Landscape
Carlo Marchionni, Italian, 1702–1786, 1750–1770
Pen and ink on paper
Drawing

Riders cross a brook toward a village, which is partly viable behind and above trees.
Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1825-1850
Graphite on paper
Drawing

The Virgin is seated below, only the upper portion of her figure visible. The Child nude, except for a bit of draping over his right shoulder, stands between the encircling arms of the Virgin, center, holding a bird. Figures in background, left.
Peep-Show Print: Perspectival Street Scene
, mid- 18th century
Engraving, brush and wash on paper
Print

Perspectival street scene
Cartouche Design
Borch, active mid 18th century, 1729–68
Etching and engraving on paper
Print

Design for an asymmetrical cartouche in the form of an ewer, framed by c-scrolls, s-scrolls, grape vines with grapes and leaves, and a panther below. The plate is signed.
The Marriage of Henry IV
Felice Giani, Italian, 1758–1823, 1812–23
Pen and brown ink, brush and brown wash, over traces of black chalk on white laid paper
Sketchbook folio

On clouds, at upper section of drawing, royal couple in guise of Jupiter and Juno are married by Hymen. Below, chariot with female figure wearing mural crown representing the City of Lyons.
Figure
Robert Frederick Blum, American, 1857–1903, 1881
Graphite on wove paper
Drawing

Partial sketch of figure wearing a hat.
Firescreen
, ca. 1810
Block printed on handmade paper

Four figures upon plinth. The figures are printed in grisaille with golden robes. A tall female figure and Cupid lean against a pedestal on the left side. The figure on the far right is seated in a classic chair, while the last figure bends down to him. Printed on a deep blue ground. Mounted on a wood stretcher.
Projet d'un feu d'Artifice dans un Jardin (Design for Fireworks in a Garden), plate 114, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1742–48
Engraving on white laid paper
Print

Garden with tall trees and façade of palace in background. Stairs lead up to exotic obelisque-like structure made of stone with palm trees, figures holding birds; above, structure is rounded pagoda-like obelisque with grapevines and winged figures.
Button
, 19th century
Brass and tin

Circular button with shank, backed with tin.  a: Ornamented with wolf's head within a band; Tin is ornamented with leaf design and letters "IA" [?].

Component -a is on card 49
Deux diferents desseins de Tables
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevations of designs for two console tables with the plans of their marble tabletops. The table frame is comprised of ornament motifs including trelliswork, vines, attributes of the hunt, a dragon, and trophies of music and theater. The plate is signed and numbered.
Menuiserie de la Bergere A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plans and profile design for the carpentry of the armchair depicted in 1921-6-279-40. The plate is signed and numbered.
Inkstand
Giuseppe Barberi, Italian, 1746–1809, 1787–1793
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

At center, a woman stands on a columnar pedestal decorated in relief with two putti supporting a medallion of a plant. This is flanked by two seated dogs, which rest on a larger base decorated with a frieze representing an antique sacrifice. This central unit rests on an oblong base with round ends supported by calyces; upon each end are two seated women supporting flaming urns (an alternate design is suggested at each end). The left urn is decorated with a band with an octagonal medallion of a bust; cornucopias drape from the frame. The right urn in the shape of a flared sketch of the inkstand is at upper right. Bordered and mounted like 1938-88-2109.
Pedestal with Sphinxes and Satyrs
, 17th–18th century
Engraving on paper
Print

Pedestal.
Rocaille Cartouche Designs
Franz Xaver Habermann, German, 1721 – 1796, mid- 18th century
Etching on off-white paper
Print

Sheet filled with variations of cartouches comprised of rocaille scrolls and rinceaux. The plate is signed and numbered.
Allegory of the Four Seasons - Winter
Jacopo Amigoni, Italian, 1682–1752, 1739-1752
Etching and engraving on laid paper
Bound print

Vignette of a man and a woman in a barren landscape. The woman is seated against a ruined fence. She holds a cup in her right hands, which the man, standing to her right, pours some liquid into. At her feet is a fire and a dog. The plate is trimmed and only the plate number is visible.
Landscape with a Town
Frederic Edwin Church, American, 1826–1900, 1860–70
Oil and graphite on tan paperboard
Drawing

Landscape sketch showing a view of a distant town (possibly Hudson, New York) viewed from an elevated perspective (possibly the artist's property nearby). In the foreground, a split rail fence is visible in the lower left corner and forms the boundary of a grassy and partially wooded field that extends into the middle distance. A dense grove of dark green trees is included at left. In the distance at center, several small, white buildings--possibly comprising the town of Hudson--are tucked within a rolling landscape that extends into the hazy background. Above, an immense and billowing cumulus cloud rises high into the sky, where another long, dark, and horizontal cloud bank is visible along the upper margin.
Chasuble
, 17th century
silk, metallic trim, linen lining Technique: cut and uncut supplementary warp pile (velvet) in a satin foundation, plain woven lining Label: silk cut and uncut voided velvet, woven metallic trim, linen lining

Complete chasuble of red figured velvet with woven orphrey bands of a different velvet, edged all around all areas with gold metallic ribbon. The side panels are of red cut and uncut velvet in a satin foundation in a large-scale scrolling floral design. The orphrey bands are of cut and uncut velvet in reds, pinks and greens on a white satin ground in a large-scale, symmetrical floral design. Lined with linen.
Mounts Göll and Brett near Berchtesgarden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June 28, 1868
Graphite and white gouache on gray-green wove paper
Drawing

Landscape sketch showing a view of a Swiss chalet situated at the base of the mountains known as Hoher Göll and Hohes Brett near Berchtesgaden, Bavaria, present-day Germany. In the foreground, the large chalet has a second floor balcony and is viewed directly with another building--possibly a barn--in front of it. Behind the chalet, the wooded terrain quickly ascends to a rounded, pyramidal peak in the middle distance at left. In the background,the craggy, snow-strewn peaks of the Hoher Göll and the Hohes Brett are visible at left and right, respectively.
Contours de Plats, Caisses, Boëttes de chasse, Casseroles &c.
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Contour drawings of designs for dishes, plates, boxes, etc. The plate is signed and numbered.