biglam/cooper-hewitt-alt-text huggingface dataset:
Kingston Harbor from Galloway Hill, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Oil and graphite on paperboard
Drawing

Landscape sketch showing a view of Kingston harbor and the Jamaican coastline from the estate known as Galloway Hill, where Church and wife stayed during their time in Jamaica. In the foreground, some greenery and the perimeter fence of the estate's courtyard is visible. Notably, a white rectangular pillar with a sphere situated on its pyramidal top and a wooden lattice fence are shown at right, with the fronds of a palm tree arching overhead. Across a loosely rendered, mountainous expanse in the middle distance, the curving shoreline of the Kingston harbor is shown at center. Visible in the harbor at left, multiple masted ships are anchored around the town of Port Royal, located at the tip of the Palisadoes--a thin tombolo of sand that extends out of frame at left. In the background at right, the rugged coastline of Jamaica curves out of view and into the distance. Above, gray, low-lying clouds fill the sky, turning it a dark shade of gray-blue.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and white gouache on glazed tracing paper
Drawing

Leaf boughs follow the outline of indented scallops. A fan motif stands over them. Slightly more than four repeats are shown.
Profiles Designs for Carved Stone or Wood
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Designs for moldings and joinery carved from stone or wood illustrated in profile details as sections. The plate is numbered and signed.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

Vase in the shape of a bowl that also forms part of a fountain. The vase is supported by four curved feet, at the top of which are masks from whose mouths spill water. There are bands of scalloped and vegetal decoration above the masks. The handles of the vase are formed by intertwined snakes. The vase is topped with a squatting, open-mouthed figure. The plate is lettered and numbered.
Sidewall - fragment
, 1760–70
Block-printed and stencilled on handmade paper

Horizontal rectangle. Black dotted field, with Indian type of design similar to a "tree of Life" pattern of foliage and flowers. Printed in black and red, stencilled in blue.
Plan de l’Eglise de Sorbonne de Paris
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floorplan for the chapel of the Sorbonne in Paris. A scale along the left margin. The plate is titled.
Design for an Altar Cross
Pietro Belli, Italian, 1780–1828, ca. 1820
Pen and black ink, graphite on paper
Drawing

Vertical rectangle. A variation of the design 1938-88-665. Spear and sponge staffs are crossed in front of a cross, their bottom and top parts being held by pairs of flying angels. The upper ones hold with their bare hands a wreath on the cross. Circles are at the ends of the other parts of the cross. The cock is shown in the wreath on top, hammer and tongs in the circle at left, the nails at right, a hand at the bottom, the fetters in the center. Two flying angels support the cross arm.
Designs for Chairs and Tables
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Designs for chairs and tables decorated with ornament motifs including spiral fluting, wave pattern, rosettes, scrolls, terms. The plate is signed and numbered.
Project for the Coat of Arms of a Prelate
, ca. 1630
Red chalk on laid paper
Drawing

Octagonal. Cherub in the top center of the escutcheon: charge: eight pointed star. Two putti seated on the corners of the escutcheon hold the hat and the cords. Figures seated beside the lower par: "Justice" at left, woman with a spear and an olive bough at right. Bordering lines.
Project for a Frame
Filippo Marchionni, Italian, 1732–1805, 1750–75
Pen and ink, brush and gray watercolor on paper
Drawing

Design for upper part of a frame. The frieze is at left; it has a broken pediment above, with a fire burning in a bowl upon a high pedestal in the center. Upon the lower part of the cornice is a dolphin, whose body is curved and reaches the handle of the bowl. Some accounting figures.
Shinagawa from the series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, ca. 1856-58
Woodblock print in colored ink on paper
Print

Hirogshige: Issued between Tsuta-ya Kichizō (ca. 1800s-60s). aratame [approved] seal plus year month seal: Hare VII [1855]. signature: Hiroshige ga: A view in the foreground contains three figures and blooming cherry blossom trees, that overlook a river, travelling towards a tiny forest and rooftops of a small town. The middle ground shows various sailboats and ships sailing out to sea. There is a small mountain silhouette in the horizon just below the blue skyline, and next to the red sunset are both shown in a gradation. Identical to the print 1941-31-201 except the horizon is red rather than purple.
Ornament, Cartouche
Matthias Lock, 1751–53
Etching on paper
Print

A plate of "A New Drawing: A Book of Ornaments...etc." Berlin 260. Circular Rocaille opening with plants and urns. The base of a column and a fountain, at left in the background. Two framing lines.
Overdoors: Kneeling Saint
, ca. 1750
Pen and gray ink, brush and watercolor, partial ruled border graphite on white laid paper
Drawing

At left, a door with triangular pediment topped with an oval panel showing a kneeling saint, surrounded with flowers. At right, a hemispherical overdoor hung with fringed pink textile.  Above, two angels hold a crowned cartouche.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740
Engraving on white laid paper
Bound print

Design for a ceiling with water motifs. Upper left (presumed central ceiling motif) seated on an arrangement of coral and shell, a putto figure blowing water through a horn. A triton and paddle to the right side. A rustic god blowing wind, at left. Below at right angle an asymmetric design with putti, fish nets, tritons, a water fountain (in corner), flowers, leaves and cartouches, elements of a fantastic water design. Sections are connected with dotted lines, presumably as a guide for the stucco decor.
Mount
, ca. 1780
Stamped, cast, and chased gilt bronze

Furniture mount composed of rinceau flanking male head wearing victory helmet..
Alternate Designs for an Interior Wall Elevation
Jean-Baptiste Le Roux, French, ca. 1677-1746, early 18th century
Etching and engraving on paper
Print

An interior wall elevation with different wall treatments featuring paneling, a set of doors, and two chimney pieces featuring moldings, masks (mascarons), rosettes, diaper patterns, scrolling leaves, fleurons, strapwork, festoons of leaves, and brackets in the cornice. The details are described with a legend and scale lettered below. The plate is numbered.
Stage Design, Group of Palace Buildings
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Group of palace buildings, porticoes in foreground.
Carp
Albert Flamen, Flemish, ca. 1620 - ca. 1669, 1664
Etching on paper
Print

Three carp. Bottom margin: "12"; caption; privilege.
Mountains near Baalbek, Syria (Lebanon)
Frederic Edwin Church, American, 1826–1900, May 6, 1868
Oil paint and graphite on paperboard
Drawing

Landscape study showing a distant, elevated view of Baalbek in present-day Lebanon and the fertile valley it occupies. In the foreground, a road winds down a slightly wooded hill into a flat middle distance, where green fields and plains spread across the composition. In the distance at center, the city of Baalbek is faintly discernable. Imposing mountains rise in the background, capped in fields of snow.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed on a single sheet, one above the other. The upper plate features an eagle on a vase on three-tiered plinth, decorated with fish-scale pattern, rosettes, and a mask (mascaron), flanked by winged putti holding flaming torches, foliate scrolls, and scrolling leaves (rinceaux). The lower plate features a roundel with a portrait bust, flanked by winged putti, scrolling leaves (rinceaux), foliate scrolls, shell, birds, rosettes, and festoons of leaves. The plates are signed and numbered.
Button
, 19th century
Brass, gold plated

Flat button ornamented with a crown. Brass back and shank. On reverse, "G and Cie Paris M18" small coat of arms incised.

On card E
Design for an Organ
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is the central part of the fencing of the loft (see 1901-39-2738). Each compartment is rectangularly framed. Above the central one is a triangular pediment, with a shelf inside and a star on top. In front of the pipes is in the central compartment a variation of the corresponding motif in 1901-39-2784, without festoons. In the lateral ones two branches crossed to form a wreath. The wall is colored.
Design for a Corsage
, ca. 1830
Graphite on paper
Drawing

Jewelry design for a corsage brooch. Two leaves, ears of barlet, and a knot of ribbon.
Odysseus's Fleet Destroyed by the Laestrygonians [above]; Cincinnatus called to the Dictatorship of Rome [below]
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Pen and brown ink, brush and black wash over black chalk on laid paper
Drawing

Recto, above: Giants called Laestrygonians throw boulders at Odysseus's fleet. Poseidon, visible rising from the water, appears in the foreground at right. 
Recto, below: Cincinnatus, clothed as a farmer and carrying a basket and tools, walks from left towards an amphitheater. A Roman skyline appears beyond. 
Verso, above: Interior with Odysseus and Circe. At left, Circes offers a drink to Odysseus. He, at center, draws his sword. At right, his companions are turned into swine. 
Verso, below: Italian inscription.
Study of Nathaniel Bowditch for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Older man turned to right, gesturing in a speech. The right hand pointing into the palm of the left. He wears a long coat.
Fragment
, 1870–80
cotton Technique: printed on plain weave

Brown and black on a white ground in alternate vertical stripes of black and brown with tiny conventionalized flower designs in each stripe.
Textile
, 1700–1750
cotton Technique: resist printed on plain weave

Fragment in two shades of blue on a white ground. Design of undulating branches with large cup-shaped blossoms and curling leaves with pendant fruit. Much use of fine lines and dots to enhance design.
Sampler
, ca. 1820
silk embroidery on wool Technique: embroidery on plain weave

Verse, landscape with two houses, trees with birds, sheep on lawn and scattered flower and tree motifs surrounded by an angular border.
Pleated fan
, late 19th century
Paper leaf with chromolithograph, pasted with spangles, painted and gilded wood sticks

Pleated fan. Paper leaf printed with a chromolithograph.The obverse shows a bullfighting scene in the center; to the left is a dance scene of the 18th century, and to the right a dance scene of the 19th century. The reverse is red paper. Wood sticks are stained red, varnished and have gilt ornament.
Two Chair Frame Designs
André-Jacob Roubo, French, 1739–1791, 1865
Etching on paper
Print

Two chair frame designs. The design to the left has an oval back topped with ribbons and fluted tapered legs. The chair to the right has an ornately carved frame featuring caryatids legs, scrolling leaves, festoons of flowers, shells, and fleurons. The plate is signed with the printmaker, publisher, and original designer, and numbered
A Waterfall
Daniel Huntington, American, 1816–1906, 1855–65
Black and white crayon on grey-brown paper
Drawing

Water falling from high rocks at right. Pool below, with outlined rocks in foreground and trees beyond.
Chimneypiece Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two chimneypiece designs decorated with mascarons, sphinxes, garlands, and rosettes among other ornamental motifs. Between the chimneypieces is a console table with a vase, a mirror with a candelabra, and a panel with a carved figure in classical dress playing a lyre. The plate is signed and numbered.
Stage Design, View of Town on Hillside
, early 19th century
Pen and brown ink, brush and wash on paper
Drawing

Vertical rectangle. Gothic palace on the edge of a small river, the near building leaning on hillside. Church and other buildings on the top of the hill.
Allegorical Scene with Minerva and Apollo
Jacques Fouquet, French, active 1685 – 1704, 1707–44
Etching on laid paper
Print

An allegorical print depicting two winged putti pulling aside drapery to reveal roundel with a female nude figure standing amongst clouds, gesturing to the sun. Below, flanking the roundel are the figures of Minerva, Apollo, and a winged putto sitting on a cartouche framed by two mascarons within acanthus leaf ornament. Text is lettered above the scene within a shell-like motif, decorated with a mascaron and acanthus leaf scrolls and fleurons.
Cartoon for cotton printing: Scenes from Moliere's "Le Medecin Malgre Lui"
Molière, French, 1622–1673, ca. 1810-1820
Pen and ink, gray wash, and white heightening on brown paper (mounted)
Drawing

Four vignettes on a patterned ground for the design of a textile illustrate Moliere's comedy, "Le Medecin Malgre Lui" (The Doctor in Spite of Himself). The scenes shown include: upper left, Sganarelle surprised in a woods by Valére and Lucas (Act I, Scene 6); upper right, Sganarelle, in physician's dress, tells Géronte of his daughter, Lucinda's illness (Act II, Scene 6); lower left: Sganarelle engages Géronte in conversation, while Lucinda escapes with her lover, Leandre (Act III, Scene 7); lower right, Sganarelle is interruped from beating his wife by Robert (Act I, Scene I). The scenes are set against a diamond-patterned ground, with shaded squares at the intersections.
Project for a Case in a Vestry with Alternative Suggestions
, 1770–1800
Graphite, pen and black ink, brush and watercolor on paper
Drawing

Measured elevation with alternative suggestions. Front and side view shown. At top, a crucifix in yellow watercolor.
Box
, ca. 1770
Enamel, copper, brass
box

In shape of a head; field of white enamel, with features colored.  Hinged lid and deep blue on outside.  Representation of a "Turk."
Paris, Zeus visiting Callisto
, 1780–1800
Pen and ink, brush and wash on paper
Drawing

At left, Paris is shown from the front sitting in the Judgement. At right, two nude figures seated on a bed, embracing.
Rough Stone Arches Strengthened by Wooden Beams
, late 18th century
Pen and brown ink, brush and gray wash on paper
Drawing

Vertical rectangle. Arches of town-like buildings in decay supported by wooden beams.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on tracing paper mounted to board
Drawing

Two sketches of a reclining female figure. The maenads alone.
Cup and Saucer (One of a Pair)
Sèvres Porcelain Manufactory, French, established 1756, 1775–1776
soft paste porcelain, vitreous enamel, gold
cup and saucer

1942-25-20-a,c: Cup and saucer with blue floral decoration. Gildin...;     1942-25-20-b,d: Cup and saucer with blue floral decoration. Gildin...
Design for a Candelabrum
Johann Jacob, ca. 1762–92, ca. 1810
Graphite, pen and black ink, brush and sepia wash, black ink on paper
Drawing

A woman standing on a column supports both handles of a stand with seven sockets (meant to be eleven) holding burning candles. Four sockets are decorated with lion heads and other three with stylized foliage. Lower right, perspective diagram shows all eleven sockets with arms; left is scale.
Design for a Chandelier
, ca. 1830
Pen and black ink, brush and yellow-brown, green, blue watercolor, graphite on paper
Drawing

Vertical rectangle. Design for a chandelier. The burning candles are disposed alternately with glass candles upon two rings. There are eight of each kind above, sixteen below. On top and below are diamond glass bands. Tops and other glass ornaments. The scale is below.
Porte d'Entrée de Choeur
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Design for an iron gate, with the elements of its construction labeled in a key in the upper left. The plate is signed and numbered.
Two bed canopies
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two tents with feather flags on top. The right one stands behind the left one and is only partly visible. Both have friezes of lambrequins with tassels and two entwined cords. The edges of the openings are fringed. The background and the interior of the tents are colored.
A Shipwreck
Felice Giani, Italian, 1758–1823, early 19th century
Pen and ink, brush and sepia wash over black chalk on laid paper
Drawing

A two-mast ship obliquely shown on top of wave which looks like jaws of hell.  Sail blown off. Woman flying upon cloud, extends hand towards stern of ship.  Buildings of city shown at left in distance. Framing lines.
La Veuë du Monastere Royal du Val de Grace, du Côté du Jardin
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

View of the gardens of the monastery of Val de Grace, with its domed church in the center background at an angle. In the foreground the formal garden with parterre planting, basin, and fountain with nuns throughout the garden. The cityscape in the background. The plate is titled. Details within the are numbered with a legend below.
Designs for Folding Doors or Panels
Henri Sallembier, French, ca. 1753 - 1820, ca. 1780
Etching on off-white laid paper
Print

Two designs for panels with putti, grotesques, a globe, and doves.
Figure Studies
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Figure studies / sketches on a single plate. A young man in the foreground lying on the ground and barefoot, another figure on the ground behind. A basket and stick in the foreground. The head of a figure in a hat. Heads of a woman, man and child in the background and a standing woman. The plate is signed and numbered.
Title Page
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on paper
Print

Title page for a series of bed designs with two designs illustrated. Above, a bed with a crown canopy (baldachin) projecting from the wall along the side of the bed. The headboards and footboards are the same height, and the back of the board is upholstered with floral motifs and hanging swags of textiles. The frame is carved with running patterns, rosettes, and acorn finials. The canopy is topped with flowers and corner feather finials, draped with scalloped textiles with tassels. The bed curtains are tied back with ribbon and rope with tassels. The lower design illustrates the bed from a front view without the canopy. The bed linen is decorated with floral motifs and the skirt is decorated with hanging swags of textiles finished with passementeries and tied with ribbons and ropes with tassels. There is a scale below each design. The plate is titled, numbered, and signed.
ECUELLE ET GOBELETS
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Design for a porringer (shallow bowl and lid) and three cups with Empire style motifs decorated with leaves, foliate scrolls, rosettes, fluting, cartouches, a frieze with figures, peacock finial, arrows, winged female torsos, and a frieze of dancing women. The plate is titled, signed, and numbered.
Design for a Water Urn with Stand
Joseph Anton Seethaler II, German, 1799–1868, 1820–35
Pen and black ink, brush and black, gray wash on wove paper
Drawing

On circular plinth with four feet (three visible), a sphere, top section of which serves as cover and topped by Cupid in a chariot drawn by a snail.  Supported by curved poles with lion feet and lion heads with wings.  Spout starts from a dolphin's head which has a human face and which tops two bodies upon which two girls sit. Underneath are three blacksmiths around an anvil which would have been intended as a receptacle for spirits.
Dyer's record book
Cocheco Print Works, Dover, NH, USA, 1885
Label: leather binding, pen and ink on paper pages, cotton samples

Small notebook with handwritten formulas for dyestuffs to be used for printing textiles. 210 samples in various designs including printed patchwork.
KOUÏ NOU ou Jeune fille Chinoise
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Print

From a series of twelve prints, a Chinese woman seated in a landscape, buildings in the background. The plate is titled, signed, and numbered.
Aeneas Saving Anchises
Master of the Die, Italian or German, 1530 - 1560, ca. 1575
Engraving on paper
Print

Anchises, holding a statue of Athena, flees from the burning city on the back of Aeneas, attended by a child. Below, eight-line verse in Italian.
Ceiling Fixture, Entrance Hall, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, yellow color pencil on beige tracing paper
Drawing

Page divided horizontally into two registers with illustrations of lighting fixture. Upper register: cutout view of fixture showing bulb on left, view of fixture covered by shade in middle, detail of shade frame on right. Lower register: detail view of fixture frame on left with scale. Inscription at right.
Design for Gentleman's Costume: 1775, Journal des Dames et des Modes (Journal of Ladies and Fashion), Vingt-deuxième Année (22nd Year), No. 64
Pierre-Antoine Leboux de La Mésangère, French, 1761–1831, 1818
Engraving, hand-colored with brush and watercolor on cream paper
Print

Engraved, hand-colored fashion plate featuring a full-length figure of a man with curly blonde hair, turned towards the right. He carries his black hat underneath his left arm, while his left hand rests on his sword. He wears a blue coat, white cravat with white ruffles underneath, and black breeches. His right arm is positioned across his chest. Appeared as part of the Costume Parisien series in Journal des Dames et des Modes (Journal of Ladies and Fashion), Vingt-deuxième Année (22nd Year), No. 64; Nov. 20, 1818; facing p. 514.
Mandarin d’Armes du Leaotung
Antoine Watteau, French, 1684–1721, 1731
Etching on paper
Print

A seated man in a landscape with a sword on his belt. He is leaning on a potted plant, with his left arm in the air. Trees and clouds in the background. The plate is signed, titled, and numbered.
Beaker
Louis Comfort Tiffany, American, 1848–1933, ca. 1910
Blown favrile glass

Straight beaker, rounded at bottom. On sides, tooled irregular nubs. Greenish-gold iridescence.
L'Automne
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Heart shaped cartouche with arabesque ornaments and motifs including a goat head, ivy, and bunches of grapes. The plate is signed; the title is inscribed in graphite.
Fragment
, 14th century (black paint later)
silk; powdered gold paint and black lacquer Technique: stamped or stenciled; painted on plain weave

Five vertical strips pasted together on paper backing; fine thin silk cloth (with each two warps pushed close together, then space, then two, etc.), with faint small continuous gold designs of flying bird in flowers, flowers on water, rosettes in diamond trellis, angled bamboo shade. Horizontal hatching and diamond trellis overpainted in black lacquer with fine brush - probably later.
Band
, 16th–17th century
silk on linen Technique: embroidered

Small piece of linen, embroidered in red silk, showing floral and geometric shapes.
Fragment
, ca. 1100
cotton, wool Technique: slit tapestry

One panel containing a conventionalized human figure with headdress and birds. Two birds at the bottom are very indistinct. The colors are tan, mustard, white, rose, brown and black.