biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Cartouche
Gilles-Marie Oppenord, French, 1672–1742, ca. 1900
Photomechanical print
Bound print

Design for a cartouche with a variety of motifs on a bracket: a cartouche, a book, a bust, a rooster, a quill, a compass, branches, and a putto. The plate is signed and numbered.
Niagara Falls Winter Views, Table Rock, Canada Side
Frederic and William Langenheim, 1850–54
Glass stereoscopic transparency, black tape, brush and white and gold ink
Photograph

Two identical images showing the falls with snow-covered cliff.
Two Frieze Designs
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

Two ornamental friezes with scrolling leaves (rinceaux), a female figure, and men fighting lions. The publisher's address is lettered in between the two designs.
A Street in Vitri, Bretagne
Eugène Edouard Soulès, French, 1811–1876, 1840–1860
Graphite on paper
Drawing

The street of a town, winding into the background. Writing in the lower left corner: Vitri.
Altar Lamp
Luigi Righetti, Italian, 1780 - 1819, 1800–1825
Pen and gray ink, watercolor, graphite on white laid paper
Drawing

Three chains with virtues. Scale: at bottom, in palmi romani
Cherry Blossom Viewing
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This scene depicts people sitting and walking under the blossoming cherry trees, contemplating life, and enjoying nature's wonders. Still, today are rows of brilliant trees that are found everywhere around the world. The influence of Japanese aesthetics has rippling effects that are perhaps unbeknownst to the average person.
Grille pour la decoration des Jardins
Pierre Edme Babel, French, 1720–1775, 1890–1910
Facsimile of the original etching (photomechanical or lithography)
Print

A design for a wrought iron or metalwork gate featuring cartouches, baskets of flowers, scrolling leaves, fleurons, and shells. This is a late 19th-early 20th-century reproduction from a series first published between 1738-1743.
Ornamental Trophy Design
Pierre Ranson, French, 1736–1786, 1759–80
Etching and engraving on laid paper
Print

Ornamental trophy design with musical instruments (guitar, tambourine, musette or bagpipe, sheet music and flowers, in the center, framed by an oval cartouche of trellis, intertwined flowers, scrolling leaves (rinceaux), fleurons, and a festoon of flowers. Possibly a design for a fire screen or hand fan.
Sidewall
, 1775–85
Block-printed on handmade paper

Vertical rectangle, with a complete width of drop-repeating design. Decoration consists of a vase of flowers, flanked at base by confronted squirrels sitting on scrolls; below, smaller vase of flowers with addorsed satyrs.
Saint Bartholomew
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

Standing in a niche, his left arm placed on a cross arm. His head is raised, his right arm outstretched. Framing graphite line. Parts of outline are deeply impressed.
Stage Design, Vaulted Church Interior
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Church interior with vaulted ceilings. Verso: figures in church beneath high vaults.
Valley at Sunset
Frederic Edwin Church, American, 1826–1900, 1870–80
Bursh and oil on paperboard; verso: graphite
Drawing

Landscape sketch showing a darkened view of rolling hills and broad valley at twilight, possibly a view of the Hudson Valley from an elevated perspective along the Catskill Escarpment. Upper portion defined by vivid orange clouds and gradations of an aquamarine sky.

Verso: Architecture sketch of a log cabin.
Fishermen Beaching a Boat, Cullercoats, England
Winslow Homer, American, 1836–1910, 1881
Charcoal, brush and white gouache on cream wove paper
Drawing

Horizontal view of a group of fishermen beaching a boat on a carriage, at left center.
Vase with Biscuit Portrait Medallions
Höchst Ceramics Manufactory, German, 1746 - 1796, ca. 1780
hard paste porcelain, biscuit, vitreous enamel, gold
vase

circular, with slightly flaring sides; neck of scotia profile with twisted vertical fluting - sides pink, with two bisque medallions bearing head of bearded man dressed in style of early 17th century - drapery swags in yellow between medallions
Vase de marbre blanc à Trianon
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a marble lidded vase from the gardens at the Trianon at Versailles. The vase is decorated with vines, leaves and grapes, with an acanthus leaf frieze and rams' heads on the sides and fluting around the lower half. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
South American Landscape
Frederic Edwin Church, American, 1826–1900, 1853 - 1854
Oil and graphite on paperboard
Drawing

Landscape study showing an imagined view of a South American landscape with two towering, snow-capped peaks--Chimborazo at left and Cotopaxi in the distance at center, which are shown in much closer proximity than they are in actuality. In the foreground at right, a church is perched atop a rocky promontory from which the base of a vibrant rainbow springs. The church overlooks a river valley in the foreground at left that includes a bridge and a group of buildings. This lush plain extends to the middle distance, which it is bounded by a steep rise that leads to a rocky mountaintop at right. At center, a waterfall visibly cascades down this abrupt mountainside, leading to the river in the foreground. The mountains Chimborazo and Cotopaxi are visible in the background across an elevated plain, also known as a "páramo." Above, a dark cloud bank at left hangs in an otherwise open and blue sky.
Design for an Earring
, late 18th century
Pen and black ink, brush and gray watercolor on light green paper
Drawing

Jewelry design for an earring, a disk above and three drops below. Design scheme is like 1938-88-833, but the knot consists of a single ribbon with fluttering ends.
Design for Sofa, with Alternative Suggestions
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, pink and blue watercolor, graphite on heavy white laid paper
Drawing

Sofa design in Louis XIV style. Alternative decoration at top rail shows a cornucopia and beading at left, urn and floral design at right. The legs show alternative scroll and leaf design. Sofa is referred to a as a "canapé a joues." Upholstery, dusty pink stripes interspersed with blue floral motif. Scale at bottom: 4 pied.
Embroidery sample
, ca. 1800
silk, metallic thread, sequins, glass and paper Technique: embroidered on cut supplementary warp pile in a compound foundation (velvet)

White embroidery with metallic thread, sequins and glass brilliants on a black foundation with horizontal ribs in purple and blue.
A Suggestive Arrangement of Sky, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, September 1854
Graphite on light green wove paper
Drawing

Landscape and atmosphere sketch showing a view of a varied sunset over the mountainous terrain of Mt. Desert Island in Maine. In the middle distance at left, a house is positioned obliquely on a small rise in the landscape. Beyond, several wooded hills form a rolling horizon in the background while, above, towering and layered bands of undulating clouds fill the sky as they extend into the distance.
On the Upper Delaware (after a charcoal drawing)
Thomas Moran, American, b. Britain, 1837–1926, 1865
Calotype with brush and dark-brown and white watercolor on thin off-white wove paper
Photograph

Horizontal view of the merging of a stream with a river, with a recumbent figure at lower left and high hills in the distance.
Portrait of Pius VI (1717-1799)
Alessio Giardoni, Italian, 18th-19th century, ca. 1783
Engraving on paper
Print

Three quarter length portrait of Pius VI, who is seated in an armchair. His body in side view towards right, his head in three quarter view turned toward the spectator. His left hand raised for benefiction.
Standing Officer
Winslow Homer, American, 1836–1910, 1862
Graphite on cream paper
Drawing

Vertical view of an officer standing at ease.
Sidewall - fragment
, ca. 1870
Machine-printed

Portion of a striped paper, with wide band set with roses, flanked by meanders and narrow stripes. Printed in cream and browns on glazed cream ground.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including an altar, cornices, vases, and grotesque ornamentation. Both plates are numbered, neither are signed.
Title Page
Thomas Gray, British, 1716 – 1771, 1753
Letterpress and etching on laid paper
Bound print

Title page for a book of illustrated poems. The title is printed in letterpress in the center of the page, with an etched vignette in the center in between the title and the date/address. The vignette depicts a monkey sitting on a stool, holding paint brushes and a palette, painting at an easel within a mountainous and rocky landscape with trees and foliage. To his right a seated male nude, wearing a crown of laurel leaves playing a lyr. The plate is signed
Band
, mid-18th century
linen Technique: bobbin lace, Brussels style

Pattern of floral garlands.
Sash
, 18th century
cotton, silk, metallic foil thread Technique: stem and couching stitches on plain weave

Long narrow sash of white cotton with an embroidered band at both ends, and three narrow guard stripes above and a narrow border on all sides. Bands contain flowering poppy-like plants.
Textile
, 18th century
cotton Technique: block printing on plain weave

Allover pattern of long flowering branches which hook together to form a continuous very linear pattern on the white cotton fabric. Flowers include sweet peas, morning glories, clover, and yarrow.
L'HYVER
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Vignette of three figures in a landscape: an older man, a young man in a jester outfit, and a woman elegantly dressed and holding a staff with a jester's head. The scene is framed by ornament including ice, scrolls, branches, and a cartouche. The plate is signed.
The Annunciation
Bernard Picart, 1673–1733, ca. 1700
Engraving on paper
Print

Saint Mary kneeling at the left, the angel kneeling on a cloud at the right, with the lily. Above, five putti with joined hands, circling above the dove in the rays of light. Below, the artist's names. Top right corner: "22".
Train Passengers
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Seated figures, including women with a hat and man with top hat.  Right, man reading a paper.
Study of Drapery
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Drapery on a figure, right. Falling straight, left.
Fragment
, 18th century
linen Technique: needle lace

Fragment of Alençon needle lace with sprig and blossom pattern with occasional details in openwork.
Fringe
, 16th century
silk Technique: woven

Blue, pink and white fringe with a woven striped heading and striped thread skirt.
Design for an Embroidery or a Woven Fabric, of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800-1815
Brush and gouache on glazed tracing paper
Drawing

The repeats, somewhat more than two which are shown, consists of three flower boughs which are surrounded by a rose garland and obliquely shown.
Mirror and case
, ca. 1800
shagreen

Flat oval case with silver thumb-plate, hinge, and hooks. Lined with pink satin.
Via crucis - Station XIII, The Deposition
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

Only state
Livery trimming
, 18th century
silk Technique: woven

Trimming for livery with a design of ecclesiastic's hat over shield showing lion rampant alternating with ornament of conventionalized flowers. In red, blue and yellow on white ground.
Pierrepont Place, Montague Terrace
Joseph Pennell, American, active England, 1857–1926, 1924
Etching in black ink on laid paper
Print

A tree shaded square. Houses at left and in the background. An iron fence and trees, right.
Ornament
, late 18th–early 19th century
wood, carved, gilded, painted

Two mounts from a piece of furniture, in the form of Atlantids standing upon dolphins. Finished on only three sides.
Sewing sample
, late 19th century
Cotton; wool

Small oblong of white material woven in raised, small waffle pattern, worked across squares in white wool, and with simple border pattern in blue worked in blue wool. Initial ''M'' in center. Fringed edges.
Fragment
, 16th century
linen, metallic thread Technique: cutwork with needle-made fillings

Narrow insertion fragment embroidered in tiny diagonal leaf and branch design with blue and cream-colored silks and silver metallic thread. Tiny reticella squares and borders.
Ewer
Rookwood Pottery, American, 1880 - 1967, 1888
Glazed earthenware

Full ovoid body, high narrow neck, wide flaring lip spout-shaped on one side and rolled back on opposite side; strap handle from neck to shoulder. Burnt siena trumpet flowers with green leaves on burnt-siena ground under brilliant glaze.
Thanksgiving-Day in the Army – After Dinner: The Wish-Bone
Winslow Homer, American, 1836–1910, December 3, 1864
Wood engraving in black ink on paper
Print

Union soliders in camp after a Thanksgiving meal, about to break the wishbone.
cruet/stand
, 19th century
glass

2 cruets with glass stoppers, salt & pepper shaker, jar in metal stand
Minerva, or "Arma" (Allegory of the Art of War), pl. 2 in the Schema, seu Speculum Principum (Skills of a Prince) series
Jan Sadeler, the Elder, ca. 1550 – 1600, 1597
engraving on paper
Print

In the foreground, the goddess Minerva, or Pallas Athena, clad in armour with the Medusa shield, is seated on a heap of objects associated with war, including a cannon, and a military treatise and instruments such as a drum and trumpets; to left, two armies engage in pitch battle; to right, behind a town settlement, soldiers supervise a series of executions.
Band
, 17th century
linen Technique: bobbin lace, continuous tape with net added (Valenciennes-style net)

Band of northern Italian, Milanese-style lace in a scroll pattern with openwork spots along the path of the continuous tape.
Tassel
, 18th century
silk, metal thread, copper discs, wooden core

Skirt of red silk threads with four ornamental strings. Head is turned in a vase shapes, painted gold and partly covered by gilt braid in woven design. Loop of woven braid in silk and metal threads.
Printer's sample book
Old Pacific Print Works, Lawrence, MA, USA, 1866–69
Paper and cotton.

Small notebook with handwritten formulas for dyestuffs for printed textiles. Contains 36 samples of printed cottons.
Fragment
, 18th–19th century
silk Technique: satin damask

Light blue damask fragment with an incomplete design of a large-scale foliate ogive pattern with stylized floral and pomegranate forms.
Printing block
, 19th century
wood Technique: carved

Small printing block with a design of a linear border fringed by small lozenges that enclose the outline of an elephant in relief.
Christ is Nailed to the Cross
, 1840s
Wood engraving on paper
Print

On soldier holds the legs. Only cross arm is supported by the back of another soldier. Four more are shown.
Fragment
, late 18th century
linen Technique: needle lace

Fragment of Alençon lace with a powdered design of alternating circles and minute leaves. Small scallops on bottom edge.
Fragments
, possibly late 16th century
silk Technique: velvet

Bands of red cut and uncut pile alternate with yellow.
Fragments
, 17th century
silk Technique: supplementary warp forming pile (velvet)

Chevron pattern in green cut pile velvet.
Sidewall
, 1770–90
Painted, stencilled ?, canvas

Repeating design of flowering rose branches, pink and orange, with green stems and leaves. The design terminates abruptly near top above which is a horizontal border. Painted canvas is attached to a wood strip at the top edge.
Textile
, 18th century
cotton Technique: printed by engraved copper plate on plain weave

Part of toile 1947-17-13. Hunting scenes in red on off white.
Border
, late 18th century
linen Technique: bobbin lace, Brussels style

Band with a scalloped border of elaborate floral sprays along one edge. Hexagonal mesh ground, sometime referred to as Fond Droschel.
Button
, 19th century
brass

convex button with ornament of a shield with heraldic devices, lion supporters standing on leaf scrolls and, at top, a crown - brass back and shank - on reverse, "Carette and Philipponnat Paris."

On card H
Badge
, late 19th century
cotton, silk Technique: embroidered

Embroidered label with crest in center has red swags surmounted by a crown that frame two dragons holding another crown. Above in dark yellow thread: "Fournisseur Brevete De S.M. La Reine de Portugal et de la cour." At bottom in same thread: "Franck Lingerie 7, Rue de la Paix. Paris"
Fragment
, 1100
cotton, wool Technique: slit tapestry

Geometrical designs in tan and red. Motifs are outlined in contrasting shades.
General Greene
, 1780–1800
Block-printed on handmade paper
Sidewall

Design honoring General Nathanael Greene, spelled Green in the design. A medallion of Gen'l Greene alternates with medallion with 2 people in battle, one having wings, possibly Mars and Fame. Printed in grisaille on gray ground. There is evidence of pink in the border, and possibly in the sidewall paper.
Gypsy
Samuel Alcock & Co., British, 1828 - 1860, 1843
Molded, glazed stoneware
Pitcher

Putty-colored job with relief decoration showing a family under a tent.
Towel end
, 19th century
linen, cotton Technique: braiding

These fringes were probably cut from towels and were originally the ornamentation made by weaving and braiding the warp ends.  A lozenge design with crosses and quatrefoils in openwork.
The Antikamnia Calendar, May and June, 1899: "Ein Stein!"
Louis Crusius, American, 1862 - 1898, 1898
Chromolithograph on paper with string binding
Calendar

May and June, 1899.
Nouveau Livre de Cartouches inventé et gravé Par Nicolas Perignon Peintre Et Architecte 1759
Alexis-Nicolas Pérignon, French, 1726 – 1782, 1759
Print

Album of designs of rococo cartouches. The title page is missing. The plates are signed and dated.
Border
, late 16th century
Technique: punto in aria needle lace

Border fragment of triangular scallops with a single bird in each point. Modes: cordonnet, brides.
Textile
, 1775–95
cotton Technique: printed by engraved plate on plain weave

Two selvedge to selvedge widths with design of a diagonal chinoiserie fence enclosing flowers and exotic figures in turbans smoking pipes.
Design in Plan and Elevation for Mahogany Sideboard on Casters
A.N. Davenport Co., 1900–05
Graphite on thin cream paper
Drawing

Elevation view: rectangular sideboard with 4 turned and fluted straight tapering legs on casters; tri-partite front has 3 drawers flanked by 2 doors; low backsplash.
Plan view: slightly protruding front section with rounded front corners.
Palais, Pattern no 98
Ludwig Lobmeyr, Austrian, 1829 - 1917, 1865
Mouth-blown, cut and polished crystal
Champagne tumbler

Tapered faceted cylindrical form with gilt line near rim.
Fragment
, 19th century
silk Technique: plain compound satin

Allover geometrical design of circles enclosing peonies in blue and green on a brown ground.
Textile
, late 17th–early 18th century
silk Technique: 4&1 satin damask; background is the warp float face of the satin

Green damask with a large flower in foliate scrolls with cornucopia-like shapes.
Otras Leyes por El Pueblo (Other Laws for the People)
Francisco de Goya y Lucientes, Spanish, 1746 - 1828, 1877
Aquatint and etching on paper
Print

A large elephant stands at right, facing left, partially outlined against an oval area of light. In the shadows, at the lower left, stands a group of four men, one holding up an open book, another a collar of bells. Printed by Francois Liénard, in the French magazine "L'Art," 1877, Vol. II, p. 40. Prepared in ca. 1815 for the Los Proverbios (Proverbs) series but not printed/published until later.
Plate 16, Design for Gentleman's Costume, Journal des Luxus und der Moden (Journal of Luxury and Fashions), Vol. 4, No. 6
Georg Melchior Kraus, German, 1737–1806, 1789
Engraving, hand-colored with brush and watercolor on cream paper
Print

Engraved, hand-colored fashion plate featuring a full-length figure of a man with curly hair or a wig, turned towards the right. He carries his black hat in his right hand and a light brown cane in his left. He wears pale blue breeches and a long, brown coat with a white cravat and green and yellow checked waistcoat underneath. Appeared in Journal des Luxus und der Moden (Journal of Luxury and Fashions), Volume 4, No. 6, June 1789, facing p. 276.
Bonad
, 1730–1800
Hand painted on canvas

Six figures in room interior. Figure on far left is wearing orange robe with blue sash, and appears to have a halo.
Frieze
York Wall Paper Company, 1895, 1905–1915
Machine-printed paper

Stylized tulip pattern, alternating with a tall tulip on stem with a tulip flower, each connect by foliage that become swags. Printed on tan ground.
Floral design for printed textiles
Louis-Albert DuBois, Swiss, 1752–1818, 1800–1818
Brush and gouache, graphite on white laid paper
Drawing

Stylized ferns, blue, pink, green on yellow ground decorated with rust squiggle pattern.
Sidewall
Carey Bros. W.P. Mfg. Co., Philadelphia, Pennsylvania, founded 1882, 1905–1915
Machine-printed paper

Foliate medallion set within rectangular shape. Medallions are connected by swags. Printed in red, green and white on gray grid background.
Chintz fragment
, 18th century
cotton Technique: mordants for 2 reds, brown, black and lavender applied by pen and brush; madder dyed; blue applied (by brush?) over resist; yellow applied by brush over blue for green; chintz on plain weave

Fragment of a palampore. Architectural shapes and plants. The border changes direction.
Foundling Hospital, from "Ackermann's Repository"
Thomas Rowlandson, British, 1756–1827, 1808
Aquatint, brush and watercolor on paper
Print

View of a filled chapel, facing the door. The pulpit, with three men in it, is in front of the door. Above, a filled choir loft. Title, artists', and publisher's names below.
The Egg Vendor
Hans Sebald Beham, German, 1500–1550, 1520
Engraving on off-white laid paper
Print

At right, a figure of a peasant stands, his arms folded, facing to the left. Beside him stands a woman, speaking to him. At lower left is seen a basket of eggs. At upper right is a tablet with the artist's monogram and the date 1520.
Sampler
, 18th century
silk on linen Technique: embroidered

Long sampler with multicolored geometric bands.
Study for "Wedding Procession"
Elihu Vedder, American, 1836 – 1923, 1872–1875
Pastel crayon on paper
Drawing

Almost full-length sketch of a young male figure in costume, standing, facing the spectator, his head turned toward the right. He holds a small, open book in his right hand.
Red Door, Marbleized Wall
Frederick Crace, English, 1779–1859, 1815–22
Pen and black ink, brush and red gouache, green, yellow and grey wash on white wove paper
Drawing

Horizontal rectangle. Elevation of a marbled wall, double door at center, red panels right and left, seven small sun-bursts in cornice.  Red paint cracking.
Sampler
, 19th century
cotton embroidery on linen foundation Technique: embroidered in running, cross, satin, and stem stitches on plain weave foundation

Long horizontal sampler divided into three columns, with bands of simple geometric patterns. Needlemade edging at the top.
Eight of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Eight of Hearts playing card from a pack of transformation playing cards. Vertically, a figural scene shown in outline, red hearts integrated into various parts of the scene. Two soldiers engaged in a swordfight, each in different costume. The figure at top stabs the man at bottom with a dagger; the injured man holds a long pole bearing a flag with a heart and crescent moon.