biglam/cooper-hewitt-alt-text huggingface dataset:
Fallen Tree, Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, 1877
Graphite on tan wove paper
Drawing

Botanical and landscape sketch showing a loosely-rendered view of a fallen tree decaying on the forest floor near Lake Millinocket, Maine. Bark visibly peels off the trunk at center, while nearby foliage and other forms remain indistinct. Pencil scratches at upper center possibly unrelated to overall composition.
Project for an Altar
, 1750–1775
Graphite, pen and ink, brush and watercolor on paper
Drawing

Elevation of an altar with steps. The sepulcher has the shape of a sarcophagus, the mensa being itself the projecting central part of the broader structure. The tabernacle is the center of the upper part, its door being decorated with a monstrance. It is framed by a glory with two cherubim above.
Mask (Mascaron) Designs
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Five designs for grotesque masks (mascarons), including a satyr and others with fantastical features, male faces (beards, horns, wings, and pointed ears). The plate is numbered.
Elevation d'une Croisée entre deux Panneaux de lambris
Juste-François Boucher, French, 1736 – 1782, 1774
Engraving on laid paper
Print

Split elevation of an interior with casement windows in the center and paneling on either side. The left upper panel features carved scrolling acanthus leaves; the panel above the windows features a wreath with branches; and the panel on the right included a mascaron, floral garland, crossed branches, and scrolls. The plate is signed.
L’Entrée de la Vigne du Prince Pamphile hors la porte de St. Pancrace a Rome
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the entrance façade of the Palazzo Pamphilj in Rome with a large path leading to the building with parterre planting framed by hedges on either side. Statues and vases on plinths throughout, and figures walking, standing, and sitting along the paths. The plate is titled and signed.
Trimming fragment
, late 19th century
silk, cotton Technique: woven with raised pile (velvet)

Red an white
Sidewall
, 19th century
Hand-painted on handmade paper

Vertical rectangle with branches of a flowering plant derived from the Indian Tree of Life; painted on four joined sheets of paper.
Earring
, late 19th century
Pinchbeck (an alloy of brass and zinc)

Each consists of two parts.  A) and B) are upper parts, faced with convex pear shape and scalloped edge; designed for pierced ears.
Portrait of a Man
Jean-Baptiste Joseph Wicar, French, 1762 – 1834, 1803–06
Graphite on light blue laid paper
Drawing

Portrait bust of a man seen in profile facing left.
Tablet with an inscription
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The inscription is written in a central rectangle with a more elaborate frame having spirals above, on top of outwards turned cherubim, at the sides, and moldings on top. In the upper band is a Maltese cross. Below the frame is an escutcheon-like console with an inner escutcheon. The whole is surrounded by a garland springing from the mouth of a mask and ending there. Laterally framed by leaves of two crossed branches. The paper next to it, at left and at right is colored. Written below, at right, by the artist: "In triplicata/propozzione". On the reverse, part of two pen sketches.
Steeples
Giuseppe Barberi, Italian, 1746–1809, 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Shown is the upper left half of the façade. The steeple has the shape of an open pavilion with a dome. Beside stand two statues upon pedestals with the height of the dado. The bill is shown. Colored background.
Stole
, 16th–18th century
silk, linen, metallic Technique: plain weave with complementary warps and inner wefts (warp twining) Label: silk, linen and metallic warp twining

Long, narrow stole with flared ends, divided into sections containing various ecclesiastical emblems including the ladder and crosses at Gesthemane, and inscriptions including L.V.C.F.V., LONGITVDO, and SEPVLCHRI. Cream ground with blue, green, and red.
Fragment
, 13th century
linen Technique: block printed pigment on plain weave

Fragment of printed linen with gazelles in tear-shaped medallions, with crossed plant forms in interstices, in gold on an off-white ground.
Adoration of the Shepherds
, 18th century
Pen and brown ink, brush and wash on cream laid paper
Drawing

Virgin touches Child with left hand as figures look on. Shepherds visible on right, with cherubim overhead flying in the clouds. Architectural background at right.
Head of a Horse
Heywood Hardy, British, 1842 - 1933, 1880–1895
Etching on white paper
Print

Head of a horse in frontal view, slightly turned to right.
Canoe on a Pond, Hartford, Connecticut
Frederic Edwin Church, American, 1826–1900, April 1845
Graphite on white wove paper
Drawing

Landscape sketch showing a view of two figures in a canoe on a pond in or near Hartford, Connecticut. In the foreground at right, barren, leafless trees line the bank and frame the scene. In the middle distance at center, a canoe is shown floating on the pond with two figures. The pond itself extends around curving banks into the background, where more leafless trees grow on distant banks. Above, puffy clouds are faintly rendered in the sky.
Grilles pour les Chapelles de la Communion
Richard de Lalonde, French, active 1780–96, 1789
Etching on off-white laid paper
Print

Designs for two low gates, decorated with religious iconography. The plate is signed and numbered.
Bacchus
Felice Giani, Italian, 1758–1823, ca. 1810
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Bacchus shown in mountainous country holding thyrsus in his right hand and with left hand, pouring wine into bowl for panthers.
Design for an Earring
, ca. 1800
Pen and black ink, brush and gray watercolor, gold on paper
Drawing

Jewelry design for an earring. In front of the ring is a disk supporting the chains, consisting respectively of alternating disks and blossoms, and of disks alone; below is a knot with a disk in the center and on the top. Bevelled corners.
Nouvelle suite de cahiers arabesques chinois a l'usage des dessinateurs et des peintres, no. 1
Jean-Baptiste Pillement, French, 1728–1808, 1790–1799
Etching with colored inks à la poupée on off-white laid paper
Print

1921-41-17/34: Title page with title of book surrounded by floral...;     1921-41-17: Title page with title of book surrounded by floral...
Study for "Searchlight, Harbor Entrance, Santiago de Cuba"
Winslow Homer, American, 1836–1910, 1885
Graphite, white chalk on gray paper
Drawing

Horizontal view of a cannon and the searchlight on the parapet of the Spanish fort, Morro Castle, with the harbor of Santiago de Cuba visible in the background.
La Fontaine de Silvie dans le petit Parc de Chantilly (Upper Plate)
Adam Perelle, French, 1638 – 1695, late 17th century
Etching on laid paper
Print

Two plates printed on a single sheet, one above the other, depicting the gardens at Chantilly. The upper plate illustrates a lowered basin with stairs and balustrades, with figures and trees in the background. The lower plate illustrates a rectangular horse carousel with trees framing and figures and horseman throughout. The plates are titled.
Band
, 16th–17th century
silk on linen with glass beads added Technique: embroidered; deflected element work using wrapping and double running stitch on linen plain weave

Heads of cherubs over diagonal flowering scrolls.
Border
, 1820–30
Block-printed and flocked on handmade paper

Rectangular. Band of blue and white morning glories on yellow field with orange flock leaves, bordered above and below in orange flock of three shades.
Wallpaper Design
, 1850–60
Brush and gouache, graphite on white paper
Drawing

A dado is shown at the bottom, an entablature on top. The panel shows vertical rows consisting of waved and intertwined white and blue garlands, and of vertical poles. The left side suggests alternatively to show boughs in the intervals between the rows. A vine garland for which a brown or red coloring is suggested alternatively is laid across the top.
Stage Design, Prison Cellar
, 18th century
Pen and brown ink, brush and sepia wash on paper; verso: graphite
Drawing

Horizontal rectangle. At bottom, prison cellar vaulted, two stairs leading up. Details of barn, stairs, and torture instruments at upper left and upper right.
Flask
, ca. 1850
Glass

Bottle green glass.  On one face, bust of Washington, with gueue, facing left. Inscription "THE FATHER OF HIS COUNTRY". Reverse, bust of Taylor, in uniform, facing left. Inscription: "GEN. TAYLOR NEVER SURRENDERS" "DYOTTVILLE GLASSWORKS PHILAD.A." with sheared mouth.

Housing recommended
Embroidery sample
, late 18th–early 19th century
silk, metallic thread, metal wire, sequins, paper Technique: embroidered on uncut voided supplementary warp pile (velvet)

Floral design embroidered in white silk, silver thread and wire, and silver sequins on a brown ground.
Street of the Knights, Corfu, Greece
Frederic Edwin Church, American, 1826–1900, May 29, 1868
Graphite on tan laid paper; verso: graphite
drawing

Architecture sketches showing views of an exterior entryway and window on the the Street of the Knights in Rhodes. At center, stairs lead up to a Gothic porch on a one-story urban building, viewed obliquely. Below and oppositely oriented, an exterior view of a square window is included. 

Verso: Landscape sketch showing a view of mountains on the coast of Turkey, seen from the Mediterranean Sea. In the lower portion of the composition, the outline of a sharp mountain range stretches across the composition. In the middle distance, a body of water is visible, across which a rugged mountain range is shown along the coast. At center left, a tall peak is shown.
Vase of Flowers
Charles Bance, French, active 1793 - 1823, ca. 1810
Stipple engraving on paper
Print

Urn containing roses, hyacinths and aquatic flowers. A bird's nest on base.
VUE PERSPECTIVE DE LA PLACE DE LOUIS LE GRAND
Jean François Blondel, French, 1681–1756, 1751
Engraving on laid paper
Bound print

Scene of a parade of chariots through the Place Louis le Grand (now Place Vendôme) in Paris. Circulating around the statue of Louis XIV is, at left foreground, the Chariot of Mars (1921-6-207-24);  at center foreground, the Chariot of Marriage (1921-6-207-25); at right foreground, the Chariot of the City (1921-6-207-28); at right background, the Chariot of Ceres (1921-6-207-26); and at left background, the Chariot of Bacchus (1921-6-207-27).
Developpement de l'Entablement Toscan, avec Corniche, Imposte, Archivolte à l'usage des Portes et Fenêtres
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Façade and profiles of an entablature in the style of the Tuscan order. The plate is signed and numbered.
Design for the Embroidery of a Lady's Overskirt of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1790–1800
Graphite, brush and gouche on paper
Drawing

Yellow edge. The repeat is composed of two hanging bunches of fantastic flowers, staggered in alternate horizontal rows and connected by bead chains. The interval between the yellow edge and the outlines of the repeat show a decoration of oblique strips with yellow dots.
Plage des Vaches Noires, Villers
Maxime Lalanne, French, 1827 - 1886, ca. 1870
Etching on white mulberry paper
Print

Beach scene with rocks, high cliffs at left; figures in middle and far distance. Inscribed, lower left: "M. Lalanne"; lower right: "Plage des vaches noires á Villers."
Corinthian Capital
Giocondo Albertolli, Italian, born Switzerland, 1742–1839, 1798
Pen and brown ink, brush and gray wash on white laid paper, lined
Drawing

Design for a Corinthian capital.  The capital is depicted with a partially depicted fluted column or pilaster.
Textile
, 12th–13th century
linen, silk Technique: embroidered

Rectangle of undyed linen cloth with two crossing bands of black silk cross-stitch with angular running scroll within guard strips, in reserve.
Title Page "Calligraphia Latina," in Dissertatio epistolaris de calligraphiae nomenclatione...
Johann Caspar Schwab, German, 1727 - after 1810, 1756
Engraving on white laid paper
Print

Title page ''Calligraphia Latina,'' in Dissertatio epistolans de calligraphiae nomenclatione..., 1756 (Vienna, Austria)(text by Johann Georg van Schwandner, illustrations by Johann Caspar Schwab)???
Textile
, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave

A repeat of various scattered scenes in red including, - a colossus holding a lighted torch stradling a drawbridge on both sides of which are large buildings; Punchinell, Baccus, a demure well dressed woman, and reclining man enjoying an over-flowing fountain of wine; A peaceful landscape with a large tree and grazing sheep; fishermen smoking pipes surrounded by hanging fish nets before a small boat containing a basket of fish and a cat; harlequin preening through a telescope attended by his dog; a mound with chickens under a tree. The scenes surrounded by a variety of large and small boats - water indicated by short horizontal dashes.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

All of these have wefts that are striped in just about all the same colors and different ground colors that are the warps.
a. blue ground [warp] with circle of flowers around larger blosom [weft] in pink, green, white and gold color
b. grey ground [warp] with circle of flowers around larger blosom [weft] in pink, green, gold color and off white
c. yellow/green gound [warp] with circle of flowers around larger blosom [weft] in pink, green, off white and gold color
d. rust color ground [warp] with circle of flowers around larger blosom [weft] in pink, green, off white and gold color
e. red ground [warp] with circle of flowers around larger blosom [weft] in pink, green, white and gold color
f. green ground [warp] with circle of flowers around larger blosom [weft] in pink, green, white and gold color
g. pink ground [warp] with circle of flowers around larger blosom [weft] in pink, green, white and gold color
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Light green warp with striped wefts of white, then pink, green and  yellow.
Fragments
, late 17th century
silk Technique: 7&1 satin with discontinuous supplementary wefts

Floral forms on brown ground.
Band
, 300–100 BC
wool Technique: plaited (oblique interlacing)

Plaited band in dark red with dark green center on a black ground.
Ponte San Trinita, Florence
Joseph Pennell, American, active England, 1857–1926, 1883
Etching in black ink on paper
Print

View from the south bank, showing the bridge, bordering houses and the tower of the Palazzo Vecchio in the distance.
Japanese Tea Set Motif
, late 18th - mid 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu)
Katagami

A Japanese tea set motif shows the utensils used during a tea ceremony. Instructions appear to be carved out on the right side of the design. Japanese characters also are written in black in on the right side of the stencil.
Trimming
, mid-19th century
silk and silver foil Technique: woven

Trimming (galloon) in a brown silk ornamented stripe between borders of green with silver stripe; furnishing trim.
L'Etourdi (The Blunderer), Oeuvres de Molière (Works of Molière), Vol. I
Jean Baptiste Blaise Simonet, French, 1742–1813, 1773
Etching on white paper
Print

Illustration for M. Bret, L'Etourdi (The Blunderer), Oeuvres de Molière (Works of Molière), Vol. I, p. 91. On a cobblestone street three men (Lélie, Mascarille, Lelandre) start an argument. The man on the right pulls the coat of the center man to gain attention. The arms of the other men are outstretched, and their other hands hold swords. Buildings appear in the background.
Cows and Horsemen Cross a Bridge Over a Canal
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A horseman drives two cows and some sheep over a bridge spanning a small canal. Farm houses in left middle distance, and a town on the far side of a large body of water, left distance.
Vest
, ca. 1860
wool, glazed cotton Technique: printed

child's short jacket of red wool, striped in white and printed, over-stripe in small black dots. Roud neck, no sleeve, shaped, scalloped bottom. Trimmed with band of black wool around neck, arm hole and bottom, light brown glazed cotton lining. Machine sewn.
Porta Maggiore
Giovanni Battista Piranesi, Italian, 1720–1778, 1835–39 (printed date)
Etching and engraving
print

Horizontal rectangle. View of the gateway, with two large openings, and double tiers of niches cut through its walls. Portions of old aqueduct seen at both sides. Figures below. Title on cartouche below "Veduta del Monumento..." At lower left, "Cavalier Piranesi F."
The Small Passion (Title Page)
Albrecht Dürer, German, 1471–1528, 1511
Woodcut on laid paper
print

Vertical rectangle. Christ crowned with thorns, is shown seated on a stone block, His head bowed; Reverse, twenty-three lines.
Grace Church
Laurent Deroy, 1797 – 1886, 1850
colored inks printed on paper
Print

Vertical rectangle.  View of Grace Church, New York, from Broadway, with numerous strollers in the foreground.  Below, the title and artists' and publisher's names.
Tunic fragment
, 8th - 10th century
wool Technique: tapestry weave with split and dovetailed interlocking, eccentric weft, wrapping

Section of a tunic, probably for a child, with the neck opening in the center; the front and back are identical panels. Below the neck are two roundels each with a figure wearing a mantle and carrying a shield. Below the band hang two figures on chains. The panel is bordered by a series of small roundels containing rosettes or birds.
terminal
, ca. 1830
wood, gilded

transcribed from tag " 19th c. U.S.A, about 1830,pair of finials.  The Misses Hewitt"
Adoration of Magi, plate 7 from series "Life of the Virgin"
Israhel van Meckenem, German, ca. 1440 - 1503, ca. 1490
Engraving on a white paper
Print

The scene is taking place in a courtyard of a building at left. Two kings stand on each side of the Virgin, the third kneels in front of the Virgin. In background, the meeting of the Kings.
The Council in Hell. Illustration to Milton's "Paradise Lost" (after William Hogarth)
Jane Ireland, British, ca. 1790
Etching on paper
Print

Vertical rectangle. A view from right into a circle where the thrones of Satan and his peers are placed into niches of the surrounding wall. In the left foreground one of the thrones is seen from the rear. The Square crowded with figures. In the sky, stars.
Textile
, early 18th century
silk Technique: compound weave

Large scale pattern of serpentine of fantastic flowers rising from rocaille forms, in white on a green ground.
Suite of Cavalry Officers: Trumpeters
Georg Philip Rugendas, German, 1666–1742, ca. 1730
Mezzotint engraving in dark brown ink on paper
Print

Two mounted trumpeters are seen blowing their trumpets and guiding their horses who walk to the right. Landscape setting. Inscribed at bottom, lower left: "G.F. Rugendas inv. Sc. et Exc.", in the center: "TROMPETTA," and at the right, the number: "2."
Project for an Overdoor
, ca. 1780
Pencil, pen, brush and sepia, watercolor on paper
Drawing

Horizontal rectangle framing an oval landscape. In the center, above, Leda with the swan after Michelangelo; at left, the eagle of Zeus received by a nude woman; at right, Cupid; below at left, a man with a goat; below center, a medallion with a female profile; below at right, Hercules with the Hydra. Two swans clasping garlands flank the main scene.
Fragment
, 17th century
linen Technique: needle lace

Fragment in a blossom and stem pattern with a trefoil in outline.
Fragment
, 18th century
silk Technique: woven

Yellow cross-shaped fragment with pattern of serpentine floral and leaf shapes.
Cuffs
, 19th century
linen Technique: bobbin lace appliqué on machine-made net

Cuffs with a design of floral sprays and borders applied to net.
Landscape with Figures and Farm Animals
Pierre Aveline the younger, French, 1679 - 1742, ca. 1700-1720
Engraving on paper
Print

In a rocky and partially wooded landscape three figures are seen with cows, sheep, and a donkey. A mountainous vista opens to the rear.
Six Figures of Tarters
Johann Rudolf Schellenburg, Swiss, 1740 - 1806, 1775
Engraving on paper
Print

Illustration from a book. Six figures of Tarters standing in a landscape without indication of background.
Trimming fragment
, 19th century
silk Technique: woven

Flower and stems in pale colors on dark ground
Sidewall
, 1905–1915
Machine-printed paper

On light brown textured ground, tall vase-like motifs in white with clusters of flowers.
Brooch
, late 19th century
Brooch in design of a whistle made from a whip.

Brooch in design of a whistle made from a whip.
Sidewall
, ca. 1800
Block printed on handmade paper

Two rosettes or coffers on inset octagonal panels. Printed in grays, blue-gray, and salmon color on gray ground. Paper mounted on wooden panel.
Border
, 1880–90
Block-printed paper

A vining floral pattern is intertwined with a vining foliate pattern in a cable molding effect. Printed in shades of tan on an olive green ground. Band of fancy gimp along top and bottom edges.
Sidewall
, ca. 1870
Machine-printed paper

Four alternating scenic vignettes of cowboys.  Each image is printed on an inset panel within a brickwork-type construction.  Motifs include horses, mules, peasants and steer. Each scene has mountains in the background and water in the foreground. Printed in blue, green, brown, orange, white and beige on tan wood grained background.
Chandelier
, ca. 1795
Glass, gilt metal

Three tiers of graceful fountains of glass descend from the top, set off by swags of glass drops, the blown glass stems delicately engraved; gilt lower ring with six candle arms and an upper ring connected by the glass-surrounded stem and by three chains, all of metal, the lower ring supporting a blue glass disc at the base of the stem.
Inkstand
, 1760s–70s
Tin-glazed earthenware

Inkstand composed of quatrefoil-shaped body (a) with three conical projections at back center (to hold writing implements?); base with four short conical feet; white ground decorated with yellow, blue and green flowers and garlands. Quatrefoil-shaped lid (b) showing allegorical scene of shepherds with foliage-scroll borders. Interior inset with two shaped containers (c,d), with yellow, blue and green decoration; one container with pierced top.
Creamer
Wedgwood, English, established 1759, early 19th century
jasperware, salt glaze

Low footed octagonal pitcher in gray-tan with white classical figures applied to each facet. All over Gothic-style pattern decorating body.
Sidewall
, 1770–99
Block-printed on joined sheets of handmade paper

On blue ground, neoclassical-style trophies in wreaths, joined with swags to brackets with urn on top. Slip printed with one woodblock, first with black, then white to give a shadow effect.
Sampler
Tomasa y Nocenya Rey, early 19th century
silk embroidery on linen foundation Technique: embroidered in cross, satin, stem, chain, four-sided, and back stitches on plain weave foundation

Center field of spot motifs, surrounded by bands of geometric pattern in concentric squares.