biglam/cooper-hewitt-alt-text huggingface dataset:
Palampore
, mid–late 18th century
cotton Technique: mordant-painted and resist-dyed (chintz)

The wide border, contained between two narrow guard borders with pattern of delicate flowering vine, exhibits a design of five types of palm trees - the Palmyra palm, banana, coconut, betel, and date palms - growing in a row, and forming a repeat pattern. On the ground appear a mongoose, a lamb, and shaggy gray dog wearing a collar. Several of the trees variously inhabited: the coconut palm is being ascended by the "toddy" man, equipped with ladder, sack and other tools, to gather the fluid which will make the "toddy" wine. A parakeet with red body and green tail clings to the trunk of a banana palm; a cobra is coiled round the trunk of the date palm, reaching toward birds which flutter about their nest; brown squirrels are busy on the trunk of the betel palm. The palm trunks are in red, or brown, or blue with red and blue foliage. Colors are two reds, two greens, blue, yellow, violet, and brown. Cotton is very fine, now a biscuit color, and glazed.
Sampler
, 1851
Technique: various embroidery stitches.

A band of rectangles, with each rectangle showing different embroidery stitches, patterns and colors. The patterns are seperated by narrow patterns done in black.
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 6. Design for bedroom and and a bed in the à la Duchess style. Headboard rectangular with a bi-laterally symmetrical carving of scrolls. Canopy adorned with plumes at corners. Grill work stands in foreground, left and right
Wall Elevation
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and watercolor on wove paper
Drawing

Vertical rectangle: Two panelled doors center, Greek frieze design above, Greek fret design left and right.
Sidewall
, 1875–1900
Block-printed

On green ground, all-over fill of grass with lavender, yellow and pink wildflowers.
Design for Drapery, Possibly for Library
Frederick Crace, English, 1779–1859, 1802
Brush and watercolor on paper
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. Design of a drapery for a recess opening. Drapery in blue caught at the center and upper corners with red bows and tassels. The central space is spanned by curtains, lacking central supports.

Original album associated with this collection still exists.  See 1948-40-1 accessory
In Our Room, Bourges
Arnold William Brunner, American, 1857–1925, 1883
Graphite on brown paper
Drawing

Room of artist shown, fire place with rug, fireplace mantel with objects and suitcase right. Right, two sketches of North porch of the Cathedral.
Sketches of Decorative Panels or Grillwork
Arnold William Brunner, American, 1857–1925, ca. 1879
Graphite on beige paper
Drawing

Decorative panels or grillework upper center, upper right and center left.  Upper center portion of panel or grillework, upper right, corner or panel or grillework, with acanthus leaves. Center left, square of panel or grillework.  Sketches of female statues, upper left and lower right. Two upper left are similar in style. Lower right, possibly a sketch of Venus de Milo.
Summer in the Country
Winslow Homer, American, 1836–1910, July 10, 1869
Wood engraving in black ink on paper
Print

Four ladies playing croquet.  In the right foreground, a young lady appears to be looking at her nails on her right hand, while the girl on the left rests her foot on a croquet ball and looks at the two other girls in the background.
Frame
, 1890–1900
Brass, tin and glass

Vertical rectangle of brass, having stemmed leaves painted green, and twelve glass "diamonds" set in prongs. Small brass spheres for feet. Tin sheet for back with brass rod for support.
Sampler
Colette du Wel, 1836
silk embroidery on wool foundation Technique: embroidered in cross stitch (looping backward movement), on plain weave foundation

Upper third has two alphabets introduced by Maltese crosses and inscription, lower third has isolated floral motifs. Floral borders on four sides.
Rabat fragment
, early 18th century
linen Technique: needle lace

Rabat fragment of Point de Sedan in an asymmetric design. Classical pattern of architectural motifs, volutes and floral forms.
Ceiling paper
Maxwell & Co., S.A., Chicago, Illinois, USA, 1905–1915
Machine-printed paper, liquid mica

Rows or columns of overlapping circular shapes formed by vining foliage, with each circle containing a floral sprig or bouquet. Printed in green, yellow, and silver mica on off-white ground.
Study of candelabras
Jean-Robert Ango, French, active in Rome 1759 –1770, d. 1773, ca. 1759–70
Red chalk on paper
Drawing

Study of three candelabras
Band
, 17th century
silk on linen Technique: embroidered on plain weave (deflected element work using wrapping stitches to create a grid)

Pattern of diagonal floral sprays reserved in white on red background.
The Dead Caesar
Jean-Léon Gérôme, French, 1824 - 1904, ca. 1870
Etching in black ink on cream colored paper
Print

The dead Caesar is seen lyling on the floor, his head nearest the spectator, and right arm outstretched.
Black Bird with Roses
, ca. 1800–1830
Pen and ink, graphite on coated wove paper
Drawing

Black Bird with Roses
Cartouche with Lion
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Etching and engraving on paper
Bound print

Asymmetrical rocaille cartouche with a seated lion at base. Putti figures surround the ornamental frame, which is heavily decorated with vegetation and scrollwork. Within cartouche, a seascape scene of a mountainous island.
Trimming
, 19th century
silk Technique: velvet

Red and white trimming fragment ornamented with white threads arranged to form pattern of interlocking compartments.
Pemadumcook Pines
Frederic Edwin Church, American, 1826–1900, October 3, 1878
Graphite on white wove paper
drawing

Botanical sketch of a lone pine tree near the Pemadumcook Chain of Lakes in north-central Maine. Situated at center, the pine grows diagonally to the left and has a tall, slender trunk with a relatively thin canopy.
Textile
, 19th century
silk, seeds Technique: ladder, buttonhole, surface and chain stitch embroidery on plain weave

Fragments of green, yellow and red silk pieced together and densely embroidered in a stylized design of geometric and floral motifs. Small tassels with seeds are attached to the sides.
Public Building
Planier, French, 1800 – 1900, 1780–90
Pen and black ink, brush and gray and blue wash, over black chalk on paper
Drawing

Elevation of a large horizontal building.  Entrances are in domed pavilions at either end of the building.  Attributes of the Arts are shown in triangular pediments above the entrances.  Four statues of allegorical women flanking the entrances represent possibly the Muses.  The pavilions are connected by a colonnade of embedded Doric columns and a short top story.  In each interval (between the columns) are a two-story window and a regular window.  Circular windows are placed at the basement level, below the colonnade.  Below the rendering are the rule "12 Toises" and the scale "48 modules."  Inscription on verso.
Upholstery trimming
, ca. 1902
silk Technique: woven

Pink, green and white trimming in an open design.
Title Page
Jacques Valentin Fontaine, French, active 1740 – 1760, 1742–55
Etching and engraving on laid paper
Print

Title page for a series of designs for ironwork and ornament. The title is lettered in the center framed within a rococo frame made up of c-scrolls, palm leaves, fleurons, scrolling acanthus leaves, flowers, topped with a shell cartouche framing a coat of arms in the center with three bunches of wheat, flanked by lions and a crown on top.
Sampler
, 19th century
silk embroidery on linen foundation Technique: satin, stem and couching stitches on plain weave

Detached motifs including floral borders, flowering sprays, trees, animals, birds and a house. Maker's name unreadable.
Design for a Tabernacle
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The upper central part of the altar ledge is shown with the door for the receptacle for the host. Above rises in front of a tent-like baldachin a half-circular colonnade with a dome. Inside is a monstance in a glory; below are two cherubim. Colored background.
Fragment
, 17th century
silk, metal thread Technique: cut and uncut supplementary warp pile (velvet) with supplementary weft

Narrow fragment of red cut and uncut velvet on white ground with extra weft of metallic thread. Fragment shows part of a large-scale floral motif.
Rank badge
, mid- 19th century
silk and metallic embroidery on silk foundation, coral beads Technique: embroidered with satin and couching stitches on satin weave

Rank badge for a civil official. Embroidered silk and metallic yarns showing a bird facing a sun disk, on a ground of clouds. Seam at center.
Design for the Decoration of an Oblong Octagonal Ceiling
Henri Sallembier, French, ca. 1753 - 1820, ca. 1775
Pen and black ink with brush and ink wash on paper
Drawing

A classical warrior accompanied by two figures is on a bracket in a pavilion in the center. Two satyrs are shown on the bracket.  Circular motifs surround the central motif. Four female figures, possibly Muses, accompanied by putti, are seated at the corners, leaning against spirals. Lambrequins at their feet change into lines and terminate in grotesque masks. The subject may possibly represent Minerva and the Four Virtues.
St. John the Evangelist (S. Ioannes)
Cornelis Visscher, Netherlandish, 1629-1658, 1650
Engraving on laid paper
Print

St. John stands, head turned to the left, looking upward. Behind him to the left a landscape suggests that the Saint is on the Island of Patmos.  In his right hand he holds his pen poised to write the apocryphal Book of Revelations, which he holds in his left hand. Behind him, at right, flies his attribute, the eagle that carries the ink pot in his beak and protects the Saint with his outstretched wing.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs including rosettes, geometric meanders, and an open central oval. The plate is numbered but not signed.
Frieze
, ca. 1785
Block-printed on handmade paper

Horizontal rectangle on joined sheets of paper. Simulated architectural frieze adorned with urn and thyrsis entwined with grapevine; blue-gray, with warm gray shading.
Imagined Landscape with Classical Columns
Frederic Edwin Church, American, 1826–1900, 1868–77
Graphite on gray wove paper
Drawing

Imagined landscape scene showing a view of a stately colonnade, at right, facing a tree, at left, that frames a view of distant mountain the background at left. The tree appears to block the sun, whose light is bifurcated into radiating beams around the tree. A water feature or inlet is possibly included between the tree and the colonnade at lower left.
Four Floating Icebergs, Canada
Frederic Edwin Church, American, 1826–1900, July 7, 1859
Graphite on light brown wove paper
Drawing

Seascape sketch showing four views of floating icebergs off the coast of Newfoundland and Labrador, Canada. At upper left, a tall, precipitous iceberg is shaded in some detail; at upper right, a pyramidal iceberg is shown; at lower right, an iceberg with two humps; and at lower left, an iceberg with a large, round portion at left flattening to a long, flat area at right (like a duck's head, with its bill).
Portrait of Titian
Agostino Carracci, Italian, 1557 – 1602, 1587
Engraving on off-white laid paper
Print

Titian, seen in three-quarter view, turned a little to the left. Below, the inscription: ILL. [superscript] MO ET R. [superscript] MO D. DN[accent]O HENRICO CAETANO S.R.E. CARD.APLE. [superscript] BON. [superscript] A[?] LEGATO / EXIGVVM HOC MVNVS IMAGINIS TITIANI PICT. CVIVS NOVEM ORBIS CONTINERE NON VALET SVBMISSE DICAT SACRATO[accent]VE / HVMILL.[superscript]S O[accent].SERVVS AVGVST.CARRATIVS. Date 1587 inscribed at lower right.
Portrait of Samuel P. Avery
Thomas Charles Farrer, British, 1839 - 1891, 1860
Reproduction

Portrait of Samuel P. Avery. Half-tone reproduction of the pencil sketch drawing made from life at 48 Beekman Street, New York, by Thomas C. Farrer, 1860.
Title Page, from the Icones Principum Virorum
Anthony van Dyck, Netherlandish, 1599 – 1641, 1633–1641
Etching and engraving on paper
Print

The bust of Anthony van Dyck on a pedestal, facing right, the head turned sharply over the right shoulder toward the spectator. On the square slab supporting the bus, left: "ANT. VAN DUCK:' right: "Ant. van Dyck fecit aqua forti." Flanking the pedestal are two heads of Mercury, with trumped and caduceus. On face of pedestal: "ICONES PRINCIPUM VIRORUM DOCTORUM,..followed by: "ANTWERPIAE/GILLIS HENDRICX EDCUDIT," in cartouche. At lower left: "Iac. Neeffs Sculpsit." The head etched by van Dyck, plate completed by Neeffs.
The Virgin and Child
Fortunato Duranti, Italian, 1787 - 1863, 1820-1850
Brush and brown watercolor on paper
Drawing

The Virgin stands turned toward right, in her arms the Child. A Paved floor and stairs, in the lower level, in the upper one what seems to be a donkey. View at a country side, the sky covered with clouds. Framing lines.
Title Page
Charles-Germain de Saint-Aubin, French, 1721–1786, 1755-68
Etching on laid paper
Print

Oval wreath of flowers and leaves surrounding the title information. The plate is not signed or numbered.
PLAN de la Grote du Chasteau de Meudon
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural floor plan for a grotto at Meudon, France. A scale to the left. The plate is titled and signed.
Valley and Mountain View, Jamaica
Frederic Edwin Church, American, 1826–1900, May–September 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing an expansive view of a lush valley in Jamaica surrounded by steep mountains. In the foreground, the nearby grassy slope descends toward the middle distance, where it meets another steeper and darker ridge with a rounded peak at left. At right, a tall bamboo tree bends diagonally into the scene, framing a view of a green, rolling landscape that extends toward rugged mountains on the horizon. A small plume of smoke is visible on the left slope of the small hill at center. Above, a bank of low lying, puffy clouds stretch horizontally across the horizon while hazy clouds otherwise fill the sky.
Page from Emblemata nobilitate et vulgo scitu digna (Noble Ornament)
Johann Theodor de Bry, German, 1561 - 1623, 1593
Engraving on white laid paper
Print

Proof before lettering.  Three rectangular panels inserted on a strapwork background. The central panel shows an escutcheon of a helmet supported on intertwined acanthus leaves. The upper rectangle with rounded corners, as well as the lower rectangle, both have a nail-head border with projecting strapwork elements.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, an entablature on top. The panel is decorated with vertically waved stems with blue petals and boughs. In the intervals are boughs with leaves and red seeds. On top are vine garland and a purple stripe.
Sidewall - fragment
, 1790–1800
Block-printed, distemper colors, handmade paper

Design in black and white: a diagonal lattice of bead shapes enclosing squares set alternatively with vertical black and horizontal white lines, with central leaf motif flanked left and right by vertical rows of black and white crowns. Formerly used as a book cover.
Bandbox and lid
, 1830–35
Block-printed on paper, pasteboard support

Fragmentary patterns show a coach, horses, inn.
Three Architectural Plates
François de Cuvilliés the younger, German, 1731 - 1777, 1766–69
Etching and engraving on paper
Print

Three plates printed on a single sheet illustrating architectural and ornamental details. The upper left plate illustrates a design for a dome topped with figures, a cartouche, and roundel portraits. The upper right plate illustrates sculpted figures in classical dress, and putti. The lower plate illustrates an architectural detail with a sculpted pediment topped with putti and a vignette above with a man seated in a landscape. The plates are titled, signed, and dated.
Design for a Brooch
, late 18th century
Pen and black ink, brush and gray watercolor on off-white laid paper
Drawing

Jewelry design for a brooch. A knot of laced ribbon, à jour. In the center, a rosette. The inside of the ribon with an arcade motif. Outside, rows of round beads. Beveled corners.
Détail des ornemens de la Bergere A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Details of the ornament designs for the armchair represented in 1921-6-279-40. The ornament motifs include acanthus leaves, fluting, rosettes, scrolls, lamb tongue, ribbon twist, and rosettes. The plate is signed and numbered.
Drawing: A study for folded hands
, ca. 1760
Black crayon and white heightening on blue paper
Drawing

Horizontal composition of folded hands. On the reverse is the continuation of the head -2749 and the bust
Figure
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Sketch of a figure with a bent knee.
Design for a Necklace
, 1800–1825
Pen and ink on paper
Drawing

Design for a necklace. The chain around the neck consists of alternating ovoidal and rhomboidal gems which are connected in the middle by chains of beads. Written below the ink, an Italian inscription.
Vase Design
Jean-Bernard Turreau, French, 1672 - 1731, early 18th century
Etching on laid paper
Print

Design for a lidded vase in a krater form with grotesque motifs and a frieze with soldiers around the body, featuring mascarons (masks), putti, cartouches, gadrooning, fluting, wings, scrolling leaves, reeds and ribbon, a snake, fish scales, festoons of leaves, shells, and fleurons ornament. The plate is signed.
LA PÖESIE ET L’ELOQUENCE
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Etching and engraving on laid paper
Print

Allegorical vignette representing poetry and eloquence from a series of twelve (including title page). The title is lettered in the center within an open book surrounded by a winged putto, clouds, sun rays, a lyre, palm leaves, flowers, a flute, horn, mask, arrows, and a caduceus. Lettering below the vignette and the plate is signed.
Porte-Cochère Design
Laurent Francart, French, active 1681-1690, 1707-1742
Etching and engraving on laid paper
Print

Design for a porte-cochère with a bust on an engaged pedestal at the top. Garlands of flowers are draped from the pedestal to the curved pediment on which winged putti climb. The doors have oval medallions in which are mythological depictions of Hercules (with club and lion skin) and Flora (holding a flower). The plate is not signed, but numbered twice.
Stage Design: Sketches of Facades
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Different sketches of facades of houses with trees and plants in pots.
Design for a Keyhole Escutcheon
Antoine Jacquard, French, active ca. 1616 – d. 1652, 1615
Engraving on paper
Print

Design for a keyhole escutcheon featuring grotesque motifs including hybrid creatures which are part-male, part-animal, part sphynx, and part-foliage, with surrounding scrolling leaves, flowers, jewels, and two figures hammering metalwork with flames in the background. The plate is numbered.
Title Page and Gate Design
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Title page and wrought-iron gate design for a church. The design features central double doors decorated with geometric and scrolling bands, beads, and scrolling leaves (fleurons). The plate is titled, signed, and numbered.
Sidewall - fragment
, ca. 1895
Machine-printed on paper

Spray of flowers and grasses. Printed in colors on white ground.
Detail, bed alcove, Palace of Fontainebleau
Frederick Marschall, ca. 1885
Brush and watercolor, tempera, Chinese white on heavy paper
Drawing

Elevation of section wall. Right, part of bed alcove; left, doorway. Marble dado, with wall surface above decorated with panels contained in narrow gold frames with central and symmetric use of rocaille motifs.
Towel
, 1740
cotton embroidery, linen foundation Technique: cross, running, interlacing, and surface satin stitches on plain weave

Towel ornamented with three bands of embroidery; one showing the Virgin and Child under a canopy with "1740 DRAD" and two flowering scrolls.  At the bottom, a band of darning and knotted fringe.
Proof of Design for a Printed Textile
, 1800–1820
Colored woodblock on paper
Drawing

Design of floral forms enclosing scene showing a bridge across river with boats and buildings at left. Background is stippled (picotage).
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Sketched. Below is a pedestal, whose main part consists at he front of an oblong relief, with a few framing mouldings. Above it are the figures beside the sarcophagus varying the motifs in 1938-88-1339. On top of thesarcophagus in a pedestal, with the ruler kneeling upon a cushion, in act of praying. Colored background.
Escutcheon, No. 3 from "Raccolta di varii cappriccii et nove inventioni di cartelle et ornamenti"
Stefano della Bella, Italian, 1610–1664, 1646
Etching on paper
Print

No. 3 of the same set as -10, "Raccolta di varii cappriccii," etc.
Designs for Friezes or Panels
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Three designs for friezes or panels. The plate features, from top to bottom: a plumed helmet with crossed flags; a grotesque with anguipeds crowning a winged bust under a baldachin; and a cat perched on a winged platform with quiver and bow, and a dog slinking off to the side. The plate is signed and numbered.
Thetis and Cupid Riding Fish
Fortunato Duranti, Italian, 1787 - 1863, ca. 1820
Graphite on paper
Drawing

Cupid, at left, raises his right hand, in which he holds an arrow, and graps the fin of the dolphin he is riding with his left hand.  Thetis sits with her head torqued around to the front while holding the fin of the lion-headed fish she rides. The heads of two putti, one with pursed lips as if blowing, are depicted above.
Radiant Sunset
Frederic Edwin Church, American, 1826–1900, 1865–75
Brush and oil on tan paperboard
Drawing

Landscape and atmosphere sketch showing a view of a radiant sunset (or sunrise) over heavily wooded terrain. In the foreground at lower left, a group of treetops catch the warm light of the sun, which is positioned at center above an undulating horizon of trees. It radiates an orange-pink glow from its hot white center that dissipates into the otherwise hazy blue sky. Light, wispy clouds are visible throughout the sky.
Design for an Altar
Ferdinando Fuga, Italian, 1699 - 1781, 1733
Pen and sepia ink, brush and gray watercolor, graphite on paper
Drawing

Design for an altar, elevation view. In the center of the broken pediment is a small escutcheon for the coat of arms of a prelate (clergyman/bishop). On top is the larger coat of arms of Pope Clement XII (1730-1740) with garlands hanging down on each side. The outwards framing pilaster with another pediment cornice is not drawn, having given room for the elevation of the side wall of the chapel and a project for the elevation of its vaulted ceiling. Below is the scale.
Sidewall
, 1875–85
Embossed paper

Imitation leather. Flowering vine and possibly bamboo plant, with snail, grasshopper and dragon fly.  Embossed and printed in gold on deep green ground.