biglam/cooper-hewitt-alt-text huggingface dataset:
A Group of Women in a Landscape
François Boucher, French, 1703–1770, after 1751
Etching on laid paper
Print

A pastoral scene with four women sitting by a river or stream. The women are naked and half-dressed. A naked woman bends over to wash a linen in the water, another sits half-dressed with her knee bent and holding her foot. She holds the hand of another woman who is laying behind her. A fourth woman leans over the woman who lays down, with her hand on her shoulder. A basket of flowers is placed by the water and the women are surrounded by trees, foliage, and reeds. The plate is numbered and signed.
Autumnus (Autumn)
Gérard de Lairesse, Dutch, 1641–1711, ca. 1680
Etching on paper
Print

Allegorical painting of autumn, with the crown of Bacchus, 3 attendents with her in the sky, carrying symbols of harvest. Below, title and artist's name.
Archibald The Cat
Frederick Stuart Church, American, 1842–1924, 1878
Printed in black ink on paper
Ephemera

Short story on Archibald the Cat
Sampler
, 1800–1850
silk embroidery on linen Technique: cross, double running and knot stitches on plain weave

Ten cross borders (geometric and floral designs) with alphabet and initials "M.W."
A Narrow Street in Strasbourg, Alsace
Eugène Edouard Soulès, French, 1811–1876, 1833
Graphite, black crayon on paper
Drawing

The upper parts of two houses are carefully drawn; the remnant is sketched. Written in the lower right corner: Strasbourg 1833.
Sunset at Sea, Canada
Frederic Edwin Church, American, 1826–1900, June–July 1859
Oil and graphite on paperboard
Drawing

Seascape sketch showing a view of a fiery sunset over the ocean off the coast of Newfoundland and Labrador, Canada. Dark, purple-brown water extends from the foreground into the background, where it forms a flat horizon. Just above the horizon at center, the fiery pinkish-red light of the setting sun illuminates the sky, as well as a long, dark cloud bank the stretches across the horizon. Highlights of crimson red are visible in this cloud at center. Above, the otherwise open sky is rendered in a gradient from green to orange.
Vignette with Statuary and a Bird
Alexis Peyrotte, French, 1699–1769, mid- 18th–late 18th century
Etching on paper
Print

Choinserie Vignette with Statuary and a Bird
Design for a Confessional, no. 5
Brother Isidore of the Billets Carmelites, ca. 1759
Engraving on paper
Print

An engraving showing the section, the elevation, and the plan of a Confessional. "Plan et élévation d'un Confessional" etc. Bottom corners: "R…." "Sc…"; Along lower margin: "A Paris chez Crepy le Fils rue St. Jacques a S. Pierce"
Elevation of the Wall of a Bedroom with Alcove
Pierre Ranson, French, 1736–1786, ca. 1780
Pen and brown ink, brush and gouache, black wash, graphite on white heightening on paper
Drawing

Interior wall decoration with alcove for a painting. Wall decorated with panels of French symbols, such as banners, rooster, drums, fasces and pickaxe. These panels flank central niche/alcove which is decorated with drapery in blue and gold, topped with banners, a helmet and sword.
Sidewall
, ca. 1850
Block-printed

Design simulates a semi-circular trellis of delicate, slender columns surrounded by a frieze of slender Gothic arches. Design is inspired by and in keeping with the Gothic Revival. All architectural detail is in gray and black. In center of trellis on top of frieze is an urn in emerald green with red roses. Green urn is surrounded with elaborate scrolls in gray. To left of wallpaper and trellis is a narrow vertical stripe, printed in gray,consisting of delicate scroll work between parallel lines. Paper is from an old house in Marblehead, Massachusetts. Printed in gray, black, green and red on old ivory paper.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase with a ribbed body, lions heads with rings in their mouths on either side of the vase with two kneeling female nudes sitting on top of their heads and holding onto a laurel leaf frieze around the neck of the vase. A handle in the middle of the vase, in between the lions' heads. The vase is signed, dated, and numbered.
Design for a Marquetry Piano Case
Durr Freedley, American, 1888–1938, November 1916
Graphite and watercolor on card stock
Drawing

Perspective view toward incurving side of piano. Seven slender legs, round and slightly tapering, joined by incurving stretchers: lyre-shaped support for pedals. Sides of case panelled.
Sample
, 1850–1900
cotton Technique: printed on plain weave

Sample showing a camel with a rider and pyramids. In red and black on a white ground.
Homage to a Hero
Firmin Perlin, 1772
Pen and brown ink, brush and brown wash, watercolors, white gouache, graphite on cream paper, lined and framed with paper stripe representing molding
Drawing

A large loggia shown from an oblique angle.  A large arch opens up into the outdoors.  A fountain and other buildings are visible just beyond the arch.  The interior of the loggia includes two large apses with half domes.  The walls are lined with fluted columns and pilasters.  Inside, at left, is a scene in which a hero in classical attire receives a wreath from Fortune and another gift from Architecture who is flanked by Painting and Sculpture in the apse at left.  Attributes of Music, Science, Justice, Commerce, Seafaring, and three putti are shown before the apse.  Fortune is accompanied on her clouds by putti; two carry a medallion with the monogram V S, and by Fame.  Apollo and the Muses are represented in the courts of the apse.
Man
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Three-quarter length sketch of a male figure.
Designs for Console Tables
, 1800–1850
Brush with brown ink, traces of graphite on off-white wove paper
Drawing

Vertical rectangle showing eight designs for console tables, each with a figural base.
Villa in a Mountainous Region
, 1800–1825
Graphite, pen and ink, brush and bistre on paper
Drawing

At left, a group of cypresses. At right, a mountain. At center, a two story villa with a circular tented roof.
Project for cast metal and colored folding doors
, ca. 1785
Pen and ink, brush and watercolor on paper
Drawing

The folding door consists of two wings, overdoor, framing pilasters, and an attic. The attic and overdoor have a trellis ground and decorated with festoons. Garlands are depicted on the pilasters.
Nekozane at Horikiri Canal No. 96 from One Hundred Famous Views of Edo (Horie, Nekozane)
Ando Hiroshige, Japanese, 1797–1858, 1856
Woodblock print in colored ink on paper
Print

Two fishing villages, Nekozane on the right side of the river and Horie on the left were both known for shellfish. The river, known as Border River (Sakaigawa) has two bridges, the closer one is named Border Bridge (sakiabashi). In 1889 the two villages merged under the name "Urayasu" which translates to "safe harbor." Today the southern tip is where Toyko Disneyland is located. The foreground shows a cluster of plovers (daizen) and the background shows Mt. Fuji coming out of low clouds and a red sky.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper, mounted
Drawing

Top: A big flower bough; a small one crosses behind its lower end. Bottom: A flower spray.
Vase de marbre blanc à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a lidded white marble vase decorated with leaves, ivy, grapes, vines and satyr head mascarons in the middle and on the sides below the handles. The lid is decorated with acanthus leaf and flower ornament and a pomegranate finial. The description is lettered on either side of the foot, with a scale along the left plate mark. The plate is signed.
Fan case and bag
, 19th century
Canvas case and bag embroidered in tent stitch, silk linings, silk ribbon with glass bead

Long narrow case for a fan and small canvas circular bag embroidered in tent stitch in design of birds and flowers. Blue satin linings, blue ribbons with pink glass beads join the two objects.
Designs for a Console Looking Glass
, 1815–30
Pen and brown ink, graphite on cream wove paper
Drawing

Vertical rectangle. Two designs for a console with mirror divided vertically in half at center. The top of the console table is an entablature supported by capitals upon the heads of lions, a crouching lion at right, a seated lion at left upon bases. The height of the table is indicated as "p. som. 4," written in graphite at lower right. The mirror has an inner moulded frame. It has below a dado with a decorated frieze, and laterally columns. Upon these stand a Gothic two-foil of a kind standing upon a calyx at left, a female figure carrying a vase upon her head at right. On top are an ornament of crossed scrolls, at left, griffins beside a circular medallion with a female hand, at right. Verso: roughly outlined plans.
Imaginary Coastal Landscape with a Tower
Frederic Edwin Church, American, 1826–1900, 1870–75
Pen and ink on off-white laid paper: verso: pen and ink
Drawing

Landscape sketch showing an imagined view of a tower built on coastal cliffs beneath a cloudy sky. At left, a rocky, nearly vertical cliff stretch from the foreground to the middle distance at center, where it hosts a castle with a tall, square tower. At lower center and right, choppy ocean waters extend from the foreground and into the background, where a large prominence and pinnacle are visible along the horizon at right. Above, billowing clouds inhabit an otherwise darkening sky. Scene delineated within a rectangular frame, surrounded by white margins.

Verso: Unfinished sketches of what appear to be wooden gates, or two doors made of wood planks. Two crossing planks are cut off along the upper margin, while another incomplete linear design is visible at right. The vertical lines trail off. Forms a complete (yet still indistinct) image with 1917-4-541.
Fragments
, early 19th century
silk and metallic thread on wool foundation Technique: embroidery on twill weave

Boteh shaped fragments. Motifs embroidered in purple, blues, golds, and greens on white ground.
Project for a Ceiling Frieze
, mid- 17th century
Pen and brown ink, brush and brown wash, white heightening on off-white laid paper
Drawing

Trapezoid. At center is Cupid with an arrow and sword. At right is half of an escutcheon with a dolphin and part of a star. Moldings to the top and bottom.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on off-white laid paper
Drawing

Jewelry design for an earring, the usual scheme, a disk above and three drops below. In the center two flower stems, fastened by a knot, in the middle a blossom. Bevelled corners.
Design for an Earring
, ca. 1800
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring. A disk and a drop, similar to 1938-88-820, but each having one row of disks and one more ribbon, are connected by a knot.
Monument for an Accademia della Pace
Felice Giani, Italian, 1758–1823, 1810–20
Pencil. Pen, ink. Bistre wash.
Drawing

Horizontal rectangle. At right is an enormous pedestal, seen from a corner; upon it is the base of a column. At the front the inscription: "[A]CADEMIA / LA PACE/" and some unintelligible signs.  At the side at right is the head of an indefinite animal above clouds.  Lying are in front of the pedestal, at right, three wreaths, two of them entwined, at left two rolls, a compass and a lyre. Lying, respectively, standing, beside are at left a palette with brushes, a bust of Zeus, an open book. Behind these is a tripod with a bowl with a fire. At left is a part of the front of a temple with the inscription: "CIANO SACR[um]."
Fragment
, 4th–5th century
Warp; S-spun linen. Weft; linen, wools Technique: supplementary weft loops in plain weave foundation.

Male head, three-quarter view and facing right, has a scalloped collar of orange and green.
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 a row of repeating motifs of conical forms and leaves, above a row of lancet leaves; the middle border, features stylized leaves interspersed with a conical feature; the bottom border, also with cross-section on the right, has egg-and-dart ornamentation at its top band. The plate is signed and numbered.
Embroidery sample
, ca. 1790–1800
silk Technique: embroidered and appliquéd on a compound foundation

Multicolored silk embroidery and appliquéd satin in a floral design on a purple striped ground.
Sampler
R. Ruiz, 1800–1850
silk embroidery on cotton foundation Technique: cross stitch on plain weave

Figure of the Virgin Mary with angels under a canopy, surrounded by symbols of the Crucifixion. Floral border.
Border
, ca. 1860
Block-printed

Dark brown field. Narrow white stripe in center, bordered top and bottom by wide bars wrapped by pink garlands.
Strongbox
, 15th century
Iron

Rectangular form, two small squared loops on either side; slightly domed lid hinged at back, ridge running along center from front to back; long hinged lock on front with tab on reverse.
Rampe et pallier de lintendance
Jean Lamour, French, 1698–1771, 1767
Etching on laid paper
Bound print

Designs for four iron grates for the ramp and landing of the main building in the Place Royale, Nancy. The iron work is shaped into scrolls with vegetal foliage. The plate is signed and numbered, although the plate number cannot be seen in the fold of the album.
Embroidery sample
, ca. 1770
silk, paper Technique: embroidered on uncut supplementary warp pile (velvet); in paper envelope

Dark brown ground with a light brown vermicular pattern embroidered in a border design of naturalistic flowers in shades of rose, green, yellow and white.
Pales, Triptolemus, Decoration for a Vault, Sala dei Legislatori, Palazzo Conti-Sinibaldi
Felice Giani, Italian, 1758–1823, 1787–1802
Pen and ink, brush and bistre wash over black chalk on laid paper
Drawing

Pales holding shepherd staff shown in profile, seated beneath tree.  Flock of goats and sheep presses around well.  Inscription, Pale inv de pascoli. At right, Triptolemus holds reins of two snakes drawing plow chariot, inscribed Tritolamo inve del aratro.
Design for the Grand Trianon at Versailles
François de Cuvilliés the Elder, Belgian, 1695 - 1768, ca. 1766
Graphite, pen, brush and wash with black ink on laid paper
Drawing

The sculptured group of a fountain is shown against a paved terrace with some plans at right. The water pours from the eyes and the mouth of a sea monster to which two mermen cling. 

Reverse: a part of a plant ornament; graphite.
LA MUSIQUE.
Jacques de Lajoüe, French, 1687–1761, 1737–1745
etching and engraving on paper
Bound print

Print after an overdoor painting of an allegory of music. Musicians stand within an arched balcony, with other figures in the background. Three of them play stringed instruments, with musical sheets in front of them on the balustrade. They wear turbans with feathers. Solomonic columns flank the figures, with a curtain to the left and classical ionic columns in the background leading to an archway decorated with a central trophy of musical instruments and a mascaron, with the sky visible in the background. The title is lettered below and the plate is signed.
Title Page
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Title plate for a series of designs for irregular rocaille panels. Large rocaille cartouche at center with inscription, a mask at the base. At upper left, two putti figures near banners and a helmet. At lower left, two herm figures, one of which holds a triton. Water pours from the top of the cartouche and from the mouth of a dragon at lower right. In the background, trees and clouds.
Designs for Ornament
Briceau, French, 16..–17.., 1709
Engraving on laid paper
Print

Fanning ornament design over a band of balck with scrolling ornamentation. Two motifs in upper corners. The plate is signed.
Autre Compartimens
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Six square ornament designs featuring repeat patterns and neoclassical motifs including rosettes, roundel profile portraits, geometric shapes, leaf, and ribbon moldings, with a scale along the bottom. The plate is titled, numbered, and signed.
Cartouche Design
Borch, active mid 18th century, 1729–68
Etching and engraving on paper
Print

Design for an asymmetrical cartouche framed by shell motifs, palm leaves, and foliate branches with acorns.
Le Salon de 1894, cover Journal des Débats
Theophile- Alexandre Steinlen, French, b. Switzerland, 1859–1923, May 1, 1894
Lithograph on white paper
Print

Cover for Journal des Débats, May 1, 1894, showing a gentleman in 18th century dress strewing roses before a lady with a palette suspended from her sash and a man in armor holding palette and brushes.
Book-Plate of David Garrick (1717–1779)
John Wood, English, died ca. 1780, ca. 1760
Etching on paper
Print

Signed "I Wood in et sc" and showing the name of the actor in an escutcheon which is topped by a bust of Shakespeare. Underneath, a French sentence taken from the fourth volume of the "Menagiana", the conversations of Gilles Ménage (1613-1692) advising one to read a borrowed book immediately to be able to give it back as quickly as possible, beginning "La premiere chose."
Panel
, ca. 1810
silk Technique: tempera painted on taffeta

Persian style yellow silk taffeta ground painted in tempera, in multicolor cartouches framed by diagonally intersecting blends enclosing in staggered rows two floral compositions, one containing a peacock, intersection gruadrefoils—framing female head.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

The vase is of a bottle shape with a lid. The lid of the vase is decorated with an acanthus leaf pattern. The neck and top half of the vase has a spiraling pattern on it. The two handles of the vase curve down and out before sharply angling back in the shape of acanthus leaves at the vase's belly. There is a grotesque mask at the center of the vase; the fish scale patten of the bottom half of the vase emerges from the mouth of the mask, with some shadowing indicating a drapery-like surface. The foot of the vase is fluted and scalloped. The vase is raised on a low, plain, square pedestal. The plate is lettered and numbered.
Birch Trees
Francis Hopkinson Smith, American, 1838–1915, ca. 1880
Brush and watercolor, graphite on paper
Drawing

A forest scene with tall birch trees in the foreground extending beyond the limits of the composition, above.  Tree-stumps, piles of cut wood, lower right.
Studies of Noses
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of twelve noses from different angles with accompanying explanatory text, from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered and signed.
Study for a pedestal, “Vintage Festival,” Mendelssohn Glee Club, New York
Robert Frederick Blum, American, 1857–1903, 1896
Graphite on wove paper
Drawing

Sketch of a pedestal.
Figures and a Mountain, Mexico
Frederic Edwin Church, American, 1826–1900, 1890–93
Graphite on off-white paper; verso: graphite
Drawing

Figure and landscape sketches showing figures and a mountain in Mexico. At right, two figures--one facing forward and one viewed from the side--wear wide-brimmed hats and conceal their faces and upper bodies with ponchos and bandanas. At lower center, a pair of male figures--also wearing brimmed hats and ponchos--is shown from behind. At lower left, another, similar male figure is viewed from the rear, beside the upper body of a woman who carries a baby. At upper left, the outline of a steep mountain with a sharp peak is visible.

Verso: Landscape sketch showing a distanced view of the Pico de Orizaba (also known as Citlaltépetl) and nearby mountains, likely from the vicinity of the town of Orizaba. Flat, largely indistinct terrain extends from the foreground and into the middle distance, where a low range of foothills is visible. Above them, two sharp peaks loom over the scene--the rearmost one at upper center being the Pico de Orizaba. Hazy clouds obscure the view of the mountains at center and upper right.
Vinaigrette
, early 19th century
Silver, niello

Egg-shaped container with chevron pattern.
Circular snuffbox with portrait miniature
Villers, French, active ca. 1781–93, 1793
Watercolor on painted on ivory horn, carved ivory, engine-turned foil backing paper; brass, paper

Round box, amber-colored horn, separate cover with portrait of man in green goat, white stock, blue shirt, white waistcoat, purple cravat; gray wig. Gray background, under glass, gold frame.
Decoration d'une Porte double à placard, varie de deux façons
Jean Mariette, French, 1660–1742, 1686-1742
Etching and engraving on laid paper
Print

Design for a double set of double doors, carved with rocaille molding. Above and between the doors is a split panel, with different design options. On the left, the panel is inward-curved, and features a scene of two putti with a spear and a barking dog. The right-side panel fills more space and features a carved relief of two putti with a dog. Though the door frame varies on each side, they both feature scrolls and scallop details. The bottom of the plate contains a cross section of the "Plan de la Baye" and the "Plan de la Porte feinte," and has a scale bar of six French feet ("Echelle de 6. Pieds"). The plate is not numbered or signed; the print is cut at the bottom at the image line.
In the Woods
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850-1875
Red crayon, brush and sepia wash and white hightening on cardboard
Drawing

A boulder lies at left in the first plane.
Panel Design of Grotesque Ornamentation
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Panel design of symmetrical grotesque ornamentation featuring portrait medallions, cornucopia, strapwork, foliate scrolls, garlands, winged putti, terms, masks, sphinxes, and a term-supported pergola at the center of which is a small cupid. The plate is signed and lettered "D."
Project for an andiron
, 1700–1750
Black chalk, ink, pen in grey/brown watercolors on paper.
Drawing

Vertical rectangle. The design is in small scale. A shell scroll is supported by two leaf scrolls. They are surrounded by a snake biting in the back of a child. Written beside: "focolare," first in pencil, then in ink. On the reverse, in two different inks, the accounts of the weight with the result "pessi 36" and "19.80"
Button
, 1815–30
Brass

Button for government official. Three fleur-de-lis surmounted by crown.

Component -a is on card i80
Clement XI Vesting His Niece as Nun
Francesco Solimena, Italian, 1657–1747, ca. 1700
Brush and wash, pen and ink on paper.
Drawing

Drawing of Pope Clemente XI, seated at center right, while he raises his hands and vests his niece as a nun.
Virgin in Glory with St. Peter and St. Paul
Francesco Solimena, Italian, 1657–1747, ca. 1715
Pen and brown ink, brush and brown wash, black chalk on paper
Drawing

Painted architecture for a fresco above and arch.  Two angels support a framed picture of the ascension of the Virgin.  Below sitting: St. Peter and St. Paul.
Engraving: Versailles, Grotto, Exterior.
, 1672
Black ink on rolled paper.
Print

Horizontal rectangle:  Building with three arched openings enclosed by grills.  Above, three rectangular bas reliefs and four bas relief medallions, all on sea themes.
Military Ornament Design
Jean-Bernard Turreau, French, 1672 - 1731, 1716
Etching on laid paper
Print

Ornament design featuring military motifs and putti, with putto holding a helmet topped with a sphinx and feathers on a pedestal surrounded by palm leaves, arrows, bows, daggers, quivers of arrows, decapitated head, spears, banners, flags, horns, sphynx, helmets, a vase, mascarons (masks), herms, roundel profile portrait, and palm leaves. The plate is signed.