biglam/cooper-hewitt-alt-text huggingface dataset:
Side View of a Drummer
Winslow Homer, American, 1836–1910, 1864
Charcoal, white chalk on blue-green paper
Drawing

Full-length vertical view of a standing drummer, drawn from the side with his head turned to face the viewer and with his drum strapped to his back.
Mountainous Landscape, Mexico
Frederic Edwin Church, American, 1826–1900, February 21, 1890
Graphite on off-white wove paper
drawing

Landscape sketch showing a loosely rendered view of a mountainous landscape in Mexico. A grassy, rolling plain extends from the foreground to the background, where it encounters a dark range of foothills at center. Behind the foothills, the outlines of two immense, rugged mountain ridges backdrop the scene. The more distant ridge at upper right features a towering peak that extends out of view.
Design for a Doorcase
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

A variation of -1658, the overdoor standing upon a pedestal with an inscription in a flat niche; its upper part is not drawn. The wall is colored.
Fragment
, 17th century
silk Technique: damasse (5-harness satin plus 1\4 twill)

Pattern of vases with birds on either side in a checkerboard framework. In red and yellow.
Handscreen
, 18th century
Engraved, hand-colored and painted paper leaf, turned wood handle

Handscreen with a paper leaf with an oval cartouche showing a scene of two women dressing a kneeling boy in a bedroom setting. Surrounded by hand-painted motifs of crossed swords, quiver with arrows, flowers and birds.
Porte, dans le grand Appartement des Tuilleries.
François Chauveau, French, 1613 – 1676, 1710
Etching on laid paper
Bound print

Thirteenth plate from a series of prints depicting the ornament and interiors of the King's apartment at the Royal palaces of the Louvre and the Tuileries, part of the Cabinet du Roi (King's Cabinet) series published by the Imprimerie Royale. The plate illustrates a door and the view of the enfilade from the door from the Grand Apartment of the Tuileries Palace.  The doorframe is decorated with running patters, and friezes ornamented with grotesque and arabesque motifs, palm leaves, foliage, acanthus leaves, strapwork, cartouches, interlaced L's, herms, and rosettes. The overdoor in the form of a broken pediment features a large, lidded vase with a French Royal crown shaped lid, and lion-handles. The vase is flanked by laurel leaf garlands with grotesque ornament and a checkered background. Four subsequent doorframes and doors are visible as part of the enfilade of rooms that make up the King's apartment. The plate is titled, signed, and numbered.
Paper Doll Costume in Pink and White Lace
, 1876–80
Lithograph, brush and watercolor on cream heavy wove paper
Print

Pink satin gown with corseted waist and full skirt fades to a lacy white with bows and rose decorations.  Both back and front of paper doll costume represented.
Four Allegories of Virtue, Villa Aldini, Montmorency, France
Felice Giani, Italian, 1758–1823, 1813
Pen and brown ink, brush and greyish-brown wash, black chalk on grey textured paper
Drawing

Four octagonal drawings. Top, left: Justice shown standing on one side of niche, leaning upon fasces and raising pair of scales. Inscribed above in graphite: GIUSTIZA.  Top, right: Prudence shown standing in temple precinct, holding looking-glass and snake. Inscribed above in graphite: PRUDENZA. Bottom, left: Strength holding club and shown near trophies. Inscribed above in graphite: FORTEZZA. Bottom, right: Vigilance holding lamp with crane. Inscribed above in graphite: VIGILANZA.
Door Design
Jean-François-Antoine Boulanger, French?, active mid 18th century, 1755–76
Etching on laid paper
Print

A design for a set of arched double doors with glass or blank panels (three on each door and one large overdoor panel). The overdoor features the sculpted head of Apollo surrounded by sun clouds and sun rays. The wood frame features rococo ornament, shells, cartouches, rinceaux, c-scrolls, and acanthus leaf motifs, with festoons of flowers and laurel leaves. An over door panel features two putti with flowers.  The plate is numbered and signed.
Le Métier à faire le Velours (The Velvet Loom)
Jacques-Philippe Le Bas, French, 1707–1783, 1707–83
Engraving on laid paper
Print

Man working on a loom.
Alpine Architecture Sketches
Frederic Edwin Church, American, 1826–1900, August 1868
Graphite on tan laid paper; verso: graphite
Drawing

Architectural sketches showing four views of buildings and structures in the alps of Austria or Switzerland. At upper left, a house with a chimney is loosely rendered, while, below it, a stone bridge arches over a mountain stream. At lower center, the round tower and exterior walls of a castle are visible. Along lower margin and oppositely oriented, a view of a stately building with an arched colonnade and a cupola is also included.

Verso: Landscape and architecture sketches showing, along the upper margin, a large building upon a hill, at center, a rugged and loosely-rendered mountain valley, and at lower right and oppositely oriented, a portion of a house is loosely sketched.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Two designs for upright rocaille panels. Left panel: scrollowork and vegetative ornamentation with a central cartouche. Within cartouche, an architectural ruin. Surrounding it, a satyr and male figure. Right panel: within central cartouche, a landscape scene with a lion's mask below. At bottom, a putto figure holding a staff.
Trophies
Louis-Marin Bonnet, French, 1736 - 1793, ca. 1775
Pastel manner engraving in various colors on paper
Print

Suspended from a nail and a bow knot. Framing lines. Bottom margins: "A Paris, chez Bonnet, rue St. Jacques, au coin de celle de la Parcheminerie No 693". Musical instruments. A music book. A lighted torch. Flowers.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on off-white laid paper
Print

Vertical rectangle showing putti with acanthus tails blowing bubbles, a bat and a swag.
Leaf-Moulded Sauceboat
Royal Worcester, English, established 1751, 1750–1760
soft paste porcelain, vitreous enamel, gold
sauceboat

White porcelain leaf-shaped sauce boat with a branch handle.  Decorated with small flower details.
Study for Staircase Decoration, Hanbury Hall, Worchestershire: Achilles Revealing his Identity in the Palace of Lycomedes
Sir James Thornhill, English, 1675 - 1734, ca. 1710
Pen and brown ink, brush and wash on tan laid paper, lined, mounted
Drawing

Drawing in two registers. Upper register: Octagonal shaped ceiling panel with a large group of figures of Greco-Roman gods. Flying figure of Mercury between the two registers. Lower register: within a painted architectural enframement a scene with many figures representing Achilles revealing his true identity at Court of Lycomedes. Frieze beneath scene depicting armor.
Le Chasteau de Richelieu en Poictou du costé de l’Entrée
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

Bird's-eye view of the entrance façade of the chateau of Richelieu. The moat, inner courtyard, and formal gardens beyond with parterre planting, fountains, garden pavilions, and trees. Figures, horseman, and horse drawn carriages in the foreground, and figures throughout the gardens. The plate is titled and signed.
Design for a Pendant with Moses
, 16th century
Pen and ink, brush and wash on paper
Drawing

Figure of the seated Moses, after Michelangelo, within an arch-like colonnade. Many pending drop-like diamonds. Above, a ring.
Charity
Heinrich Aldegrever, German, 1502 - ca. 1561, 1552
Engraving on paper
Print

Full-length figure of a woman, standing, facing the spectator. A nude child is supported on her left arm, while she carries a standard in her right hand. The flag bears the image of a dog. At upper left, an escutcheon bearing on its shield a lioness and her cubs. Monogram of artist and date 1552 on tablet, lower left. Inscription in two lines below.
INSTRUMENTS DE SYMPHONIE
Jean-Charles Delafosse, French, 1734 – 1789, 1772–77
Crayon-manner etching in red ink on laid paper
Print

Design for an ornamental hanging trophy featuring musical instruments. The trophy includes ribbons, flowers, feathers, leaves, crown, hat, drum, flutes or pipe, French horn, and sheet music. The plate is titled, numbered, and signed.
Ornamental Capital Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Designs for 12 ornamental capitals featuring motifs such as shells, masks, scrolls, garlands, acanthus leaves, rosettes, and bucrania. The plate is numbered but not signed.
Lizard Head, Colorado
Thomas Moran, American, b. Britain, 1837–1926, January 8, 1893
Graphite on paper.
Drawing

Horizontal view of two peaks, the right one of which is pinnacle-like.
Textile
, 1775–1800
cotton Technique: relief printed on plain weave

Red and white toile with a pattern of two curving flowering trees. Each tree has a squirrel and an exotic bird on it.
Costumes Parisiens from Le Journal des Dames et des Modes, 1815, plate 44
, 1815
Hand-colored engraving on off-white laid paper
Print

Woman's and man's clothing "à la angloise" from Journal des Dames et Des Modes, 1815.
La pagode sur un pont de rochers
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1775
cotton Technique: printed by engraved plate on plain weave foundation
Fragments

Six fragments of a chinoiserie design featuring a pagoda on a rock bridge, and people taking tea. In blue on white.
Cupid
Guido Reni, Italian, 1575–1642, 1650–1700
Red chalk on grey paper
Drawing

Cupid reclines upon a globe with his left leg and hand leaning onto it for support.  In his right hand he raises an arrow.
Kennet
Morris & Co., London, England, designed 1883
cotton Technique: printed on plain weave
Textile

Large flower heads leaning left, and large leaves, on a ground of small-scale, all-over design of flowering vines. In two shades of blue on a white ground.
Coverlet fragments
, late 18th century
wool, cotton Technique: plain compound cloth (overshot)

Very fine traditional geometric design of large, decorated squares set in a broad framework of contrasting fancy weaves. In indigo-dyed blue wool pattern wefts faded to various shades of blue on undyed cloth ground. Reversible.
Le Dernier Jour de la Reception des Tableaux, from Charivari
Honore Daumier, French, 1808 – 1879, 1846
Lithograph in black ink on paper
Print

Horizontal rectangle. Street scene showing an artist quickly touching up a painting borne on the back of a porter.
Textile
, 1600–1650
wool on cotton and linen ground Technique: crewel wool embroidery on twill weave

Square section of massive design of broad twining dotted stems with heavy curling decorated leaves and large flower-heads including the Tudor rose. In greenish-blue wool on ground of undyed cotton and linen twill. Dye said to be wood.
Plate 2, "Decoration d'une Porte à placards à double ventaux"
Jacques-François Blondel, French, 1705–1774, ca. 1727
Engraving on paper
Print

Two double doors within a joint arch. Both doors have a separate crowning rocaille volute above. Above, the overdoor with a painting surmounted by a carving of a female mask on a cartouche. Panels flanking doors with little volute and flower carving on top. Inscribed, along upper margin: title and 3 lines of explanation; lower left: "Mariette excudit"; lower right: "2". Explanation and inscriptions on the engraving.
Lithophane Depicting Inhabitants of Judah in Babylonian Exile
, 1825–1900
biscuit
lithophane

Horizontal rectangle with impressed design consisting of five seated figures in a lunette.  Shows inhabitants of the Kingdom of Judah in Babylonian exile (psalm 137). "An den Wassern zu Babylon sassen wir und weineten wenn wir an Zion gedachten.", impressed in top left and top right corners.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1823
Pen and brown ink, paper

Vertical rectangle.
Printer's sample book
, 1868–69
Cardboard bound with marbled paper and textile samples

Notebook with formulas for dyestuffs to be used for printing textiles. Contains 246 samples in various designs, all in brilliant colors.
Venus and Cupid
, 1760–1790
Stipple engraving with etching, printed with colors on paper
Print

Venus, standing, holds aloft the bow and quiver of cupid, who pleads for it with clasped hands. Hymen flies at right. In a hexagon inscribed in a circle. Decoration for the lid of a snuff box.
Panel
, mid-18th century
linen Technique: bobbin lace, discontinuous tape

Design shows column with birds, stags and scrolling leaves. Narrow bobbin lace surrounds panel on four sides.
Fragment
, ca. 1850
silk Technique: bobbin lace, Cluny style

Cluny-type lace in a pattern of oval leaf forms and small flowers with connecting bars in black and white silk.
Fragment
, 18th century
linen Technique: bobbin lace

Fragment of Binche lace with scrolling flower and foliage filling width of piece. Scalloped edge. "Fond de neige" ground.
Textile
, 1851–63
cotton Technique: printed by engraved roller and block printed

Grey ground printed in darker grey with pattern of floral garlands surrounding elaborate oval frame bedecked with roses; frame encloses floral bouquet, mostly roses, printed in pink, yellow, blue, red, grey, green and white.
Fragment
, 17th century
silk, linen Technique: two integrated structures

Partial design of curving scrolls forming cartouches in blue, white and yellow.
Drawing
Felice Giani, Italian, 1758–1823, 1810-1820
Black chalk, pen, brush, dark brown watercolor on paper.

Horizontal rectangle. At left, Apollo stands beside the doomed dragon; right, Apollo standing with the lyre and listens to the Satyr playing his flute.
Tile
, late 16th century
Glazed earthenware

Portion of a design composed of strap work and conventionalized foliage; painted in blue and brown.
Fragment
, 10th–11th century
silk Technique: cut supplementary warp pile (velvet) in a plain weave foundation

Fragment in a checkerboard pattern of red and faded green squares.
Atelier for Women (Bouguereau and Robert-Fleury)
M. Riccardo Nobili, Italian, b. 1861, 1880
Black ink on prepared paper
Drawing

Illustration on ruled paper for line-block reproduction, showing a class for women at the Académie Julian, Paris. Interior of a large studio, with a number of female students seated before their easels. A male model is posing on the platform, left.
Textile
, mid-19th century
cotton Technique: printed by engraved roller and block printed on plain weave; slightly glazed

Two Catalonian landscape scenes in blue on white surrounded by densely flowering branches. The first scene, "Vista del Puente del Diablo en Martorell," shows a medieval bridge with a pointed arch. There is a path to the bridge where a man reclines by a stone wall, and a strolling couple moves toward the Roman arch that stands before bridge. The second scene, "Vista del Monasterio de Montserrat," shows the monastery with the serrated mountains in the background. The Virgin of Montserrat is seated in the foreground on a bed of clouds and is attended by two angels.
Glass
, 19th century
Glass

Goblet decorated with eight elongated scallops infilled with hatching
Fragment
, 19th century
linen Technique: bobbin lace, Brussels style

Band with a loose floral vine, commonly called "Rosaline".
Fragment
, 17th century
linen Technique: bobbin lace, discontinuous tape

Fragment showing a large-scale open floral design.
Sidewall
Jean-Baptiste Réveillon, French, 1725–1811, ca. 1785
Block printed on handmade paper

Chinoiserie depicting shepherdess guarding her flock, alternating with a pair of boats involved in aerial combat.
Figures
, 19th century
Glazed and gilt porcelain

A woman dressed in white with gold accents. She wears a fringed apron and carried a gold watch (?)
Design for Sideboard with Top Shelf Supported by Volutes
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Rectangular sideboard with four straight tapering legs; tri-partite front with three drawers in two rows at center, flanked by door/cabinet either side; extended back and "L"-shaped volutes support upper shelf.
Allegorical Figure of "Africa"
Meissen Porcelain Manufactory, German, active from 1710 to the present, ca. 1760
hard paste porcelain, vitreous enamel, gold
figure

"Africa" female figure, black, with elephant-head coif, feather tunic and legings, holding sheaf of wheat; seated on crouching lion, facing left.
Sampler
Polley Thomas, American, b. 1784, 1796
silk embroidery on linen foundation Technique: embroidered in cross stitch with withdrawn and deflected element work on plain weave foundation

Bands of alphabets worked in several colors on a coarse brown ground, with the inscription: Polley Thomas was born April 01 1784 and worked this sampler in the 12 year of my age 1796
Band
, mid-18th century
linen Technique: needle lace

Band of in an open design of floral sprays.
Textile
, 1805–1810
cotton Technique: printed by engraved roller on plain weave

Four different scenes of children playing  and young women collecting nuts. In red on white.
Designs for Armchair Covers (Back and Seat)
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for upholstered armchair covers (for the back and seat) featuring floral motifs, festoons of flowers, baskets of flowers, c-scrolls, and scrolling acanthus leaves (rinceaux). Each design is labelled, the plate is numbered and signed.
Pleated fan
, 1800–1810
Paper leaf backed with parchment, gilded and painted with watercolour, carved and pierced ivory sticks with silver and gold spangles, mother-of-pearl plaque at rivet

Pleated fan. Leaf of painted paper backed with parchment. Obverse: an allegorical scene depicting a hero returning from war. Reverse: foliage sprays in gilt. Sticks of carved and pierced ivory, guards decorated with mother-of-pearl, silver, and metallic spangles. Rivet is set with an opaque white stone.
Sidewall
, 1835–50
Block-printed

In bright blue, pink, and orange, shaded with maroon, flowers with bright green foliage spring from scrollwork stripes in grey blue and gold.  Total of seven colors on white satin ground.
Frieze
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper

Art Nouveau style. Stylized tulips, alternating between large and small. Background fades from dusty green at the bottom to a light yellow-green at the top. Printed in silver and shades of green, brown, and beige.
Pleated fan
, ca. 1840
Paper leaf with gilded and hand-colored lithograph, pierced ivory sticks with silver foil, mother-of-pearl washer at rivet

Pleated fan with a hand-colored lithographed paper leaf. Obverse: a hunting party with figures in Renaissance dress with falcons. Gold leaf edge with floral border on the top. Reverse: gilded scrolls with birds and a central cartouche enclosing a woman and a girl with a butterfly net, in mid-19th century attire. Pierced ivory sticks with silver foil applied in narrow bands. Mother-of-pearl washer at rivet.
St. John from St. John Lateran's Basilica
Camillo Rusconi, ca. 1759–70
Red chalk on paper
Drawing

Drawing after statue by Camillo Rusconi of St. John the Baptist from St. John Lateran's Basilica (S. Giovanni in Laterano). St. John's head is tilted upward. He holds an open book against his body in his left hand and holds a quill in his right. A large eagle is at his right.
Sheet of cartoons of contemporary life
A. Bonaventure, French, October 29, 1866
Pen and black ink on glazed linen
Drawing

Eight vignettes, with accompanying text in German and French, showing several scenes with figures. Top register shows a scene with a seated woman; then a group of people sitting at a table; and a woman and man with a tailor measuring her dress. Below, register shows two women in profile; a woman drinking from a teacup; a man drinking from a glass; then the same man hunched over clutching his stomach. There is text throughout in black ink.
Demitasse Spoon with Bee
Charles Victor Gibert, French, ca. 1890
gold plated, silver
spoon

Oval bowl with plain narrow stem. Stem continues to form hierarchical lobed leaf with downturned twisting tip. Gold plated bee applied perched to end of leaf with wings outspread as if in flight.
Textile
, 18th century
cotton Technique: block printed on plain weave, blue and yellow applied by brush

Printed cotton with a straight repeat of peony-like flowers on a fine vine in purples and reds on white background.
Textile
, 1785–90
cotton Technique: printed by engraved copper plate

Three pieces have been stiched together to complete design which shows; left, classic figure of man bearing a lute, under draped canopy; right, symmetrical foliage decoration with putti bearing garlands; below, right, large vase of flowers; and left, small medallion with putti drawing cart. Printed in blue.

Three maujor fragments have been put together. A narrow strip from a separate lengths has been sewn on each side, at top right and middle left, indicating that when fabric lengths were sewn together the repeat was a half-drop.
Miser's purse
, early 19th century
silk, metal Technique: crochet

One side in green crocheted silk with cut steel beads; the other in brown silk ornamented with gold beads. The side opening is controlled by two rings, one of cut steel, the other of gold. A cut steel tassel is attached to the green silk end while an ornamental gold drop decorates the brown end.
Border corner
, 1840–45
Block-printed

Corner for border used to frame wallpaper panel, dado, or door, window. Green oak leaves with blue berries or buds. Narrow bands, or edging, in grisaille.
Coverlet fragment
, late 18th–early 19th century
wool, cotton Technique: double cloth

Vertical-horizontal repeat of large squares broken by small geometric trellis framework and other broad bands of geometric patterning. Reversible "Summer and Winter" weave in dark blue and white.
Sketchbook Page
Kenyon Cox, American, 1856–1919, 1875
Graphite on paper
Sketchbook folio

Small, indistinct sketches, possibly of seated figures, in a rectangular frame.
Dress panel
, 1780–89
silk, silk chenille, silk-wrapped corrugated strips of flat metal, silk-wrapped wire coils, feathers, brilliants, paper Technique: embroidery on 8-harness satin using satin, stem and couching stitches, 5-harness satin appliqué

Pale blue satin embroidered in colored silks with accents of brilliants and trimmed with lace. Parts of the design are outlined using white feathers. Small detached flower clusters on body, festoons and flower clusters, and an appliqued shaped band of white satin embroidered in an imbricated pattern with a diamond-shape drop in each scale. Below are flower clusters with lace and trimming at bottom.
Arabesque with lions
Arthur & Robert, ca. 1790
Block-printed on handmade paper
Sidewall

Arabesque design. At bottom, pair of lions below a blue vase with floral bouquet. At top, a fountain inside a wreath sprouting three peacock feathers. Printed on light green ground.
Pierrot Figure
, late 19th century
Brass
Matchsafe

In the form of a Pierrot figure, with small pointed hat, wide, saw-tooth edge collar, large buttons down front of baggy, one-piece costume, small pointed shoes; he has hands in pockets, pulling costume outward, exagerating his girth. Head and collar, hinged at back, flip open as lid. Link attached to upper part of right arm. Striker situated on reverse side, just beneath character's buttocks. Matchsafe may stand upright.
Sidewall - fragment
, 1850–99

Three fragments: a) newspaper, lining; b) brownish paper; c) blue and white medallions, transfer of B's pattern on verso.
Design for Curtains, for the Music Room or the Banqueting Room, Brighton, Royal Pavilion
Frederick Crace, English, 1779–1859, 1818–19
Brush and watercolor, graphite on wove paper
Drawing

Elevation of a wall, showing a design for the decoration of the five windows.  Swags of yellow and crimson drapery are upheld at the center by a flying dragon and tied at the sides by serpents. The intervening piers between the windows are covered by fluted drapery in yellow. Cornice in blue and gold.
Ceiling paper
, 1890–1910
Machine-printed

On tan moire ground, overlapping floral diamond motif of brown scrolling trim framing yellow flowers and green leaves.