biglam/cooper-hewitt-alt-text huggingface dataset:
Design for a Console Table
Richard de Lalonde, French, active 1780–96, 1780
Pen and black ink, brush and wash, yellow watercolor, graphite on white laid paper
Drawing

At left, frontal view of console table, covered urn draped with a floral garland on stretcher below. Scale plan is seen below table. At right, another suggestion for overleaf and support of table top.
Designs for Bedroom Alcove Walls
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

The alcove has the shape of a broad niche with a spherical ceiling above the entablature. A main entrance and two lateral secondary ones are suggested. Above: a variation of -1604 below. The arch is framed by moldings and by panels, framed outwards by moldings. On top is a keystone and a garland. The lateral parts of the wall are receding. On top is a bust, upon a pedestal. Spheres are in the places of vases. Below: the central entrance is framed by two columns supporting an entablature. Curtains, held up. On top is a pedestal with a putto, sitting, with a pair of scales upon his shoulders. Two spheres are at the corners. The left of the lateral parts corresponds generally to -1604 above, the right to -1604 below. Colored background.
Design for an Embroidered or Woven Horizontal Border of the "Fabrique de St. Ruf," Unfinished
Fabrique de Saint Ruf, Lyon, France, 1805–1815
Brush and white gouache on glazed tracing paper pasted on paper
Drawing

Obliquely shown bunches of flowers over a stripe.
Isometric View of the Gardens and Villa d'este at Trivoli
Étienne Dupérac, French, 1525 - 1604, 1573
Etching and engraving on paper
Print

View of the formal gardens and the villa d'Este in the background.
View of a City, Various Buildings
Jacques Alphonse Testard, French, b. 1810, 1842
Pen and ink, brush and wash, graphite on numerous pieces of paper, all mounted on same sheet
Drawing

Views of city, various buildings.
Pomme de Canne
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for six metal walking stick handles. The handles feature, clockwise from top left, gadrooning, bound leaf, drapery, garland, fluting with decorated channels; and wave band; ribbon twist with acanthus leaves and bead course, fluting, draped floral garland, lozenge with infilled rosettes, and spiraling arabesque; lancet lead, bead course, acanthus leaf, and spiral fluting; lamb tongue, wrap-around leaf, lancet leaf, and bead course; acanthus leaf, bead course, spiral fluting with decorated channels, and bound leaf; and gadrooning, bead course, leaf branch, spiral acanthus leaf ornamentation. The plate is signed and numbered.
Two doorcases
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Arched door openings with keystones. Inscription tablet over it in the left design; pilaster stripes like a frame. At right: festoon and inscription tablet over the door. Colored background.
Project: The elevation of an organ case
, 1793
Pen ink, lead pencil and bistre with gray water color washes on paper
Drawing

Vertical composition of an organ case with pipes in an aedicula with a cherub and scrolls. The wings of an imaginary curtain are seen above the pipes and two escutcheons with a two-headed eagle, a royal crown, and cornices of a pediment are on top. On the reverse: An ink sketch for another crest of the organ without cornices partially drawn over a pencil sketch of a shield suspended from a crown. On the upper right is a pencil sketch of part of a capital with ovoids.
Soleil
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a liturgical staff with a sunburst decorated with ornament motifs including cherubs, clouds, grapes, rinceaux, scrolls, and scallops. The plate is signed and numbered.
Bandbox
, ca. 1830
Block-printed paper on pasteboard support

Blue field. Red house, surrounded by rail fence and poplar trees in red and white.
Pisces, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash over graphite on white laid paper
Drawing

Winged putto balancing on his head, salver with two fish in a demi lune. Verso: sketch of room interior.
Odysseus and the Cattle of the Sun God
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1600
Recto: Pen and brown ink, brush and wash over black chalk on laid paper
Drawing

Recto: Odysseus reclines asleep within a wooded, mountainous landscape. The setting is Thrinacia, island of Helios, the sun god. Odysseus's ship appears moored in the background at right. His men appear in the middle distance, roasting Helios's cattle.
Verso: Blank
Man
Robert Frederick Blum, American, 1857–1903, 1876
Graphite on wove paper
Drawing

Partial sketch of a male figure wearing a turban.
Sampler
, 18th century
silk embroidery on linen foundation Technique: satin, darning, eyelet, overcastting and drawnwork on plain weave

Thirty six patterns worked in embroidery and drawnwork.
Study: A left hand
, 1650–1700
Black and red crayon on paper
Drawing

Vertical composition of a left hand raised with spread fingers, seen from the inside. Written below at right: "G.M. Viani."
Design for an Embroidered Altar Front
, 1800–23
Brush and watercolor, pen and black ink, graphite on paper
Drawing

Horizontal rectangle. Drawing includes the center and right half of the embroidery design. At bottom left, two crossed green branches with pink ribbon; the branches continue across the design as rinceaux. Above, at left, a gold cross, crown, and key. In the border, two of the charges of the coat of arms of Pope Pius VII: three gold stars at upper right and the Pax - charge at center right. Framing lines, except at left.
Design for a Ceiling
, 1750–1800
Graphite, brush and watercolor on paper
Drawing

Design for a rectangular ceiling with grotesque decorations; only a quarter colored. At center, a cartouche with two putti.
Sepulchral Monument for Astronomer Giovanni B. Fagiuoli
Giuseppe Barberi, Italian, 1746–1809, 1795–1809
Pen and brown ink, brush and brown wash, graphite on blued-white paper
Drawing

Half sphere upon which sits a woman with telescope. A bot leaning on a lyre and a boy with a flaming cornucopia flank a sarcophagus. Inscription at front.
Elevation of the Facade of a Theater, Prague
Cesare Recanatini, Italian, 1823–1893, ca. 1860
Pen and ink, brush and sepia, blue, green wash on cream paper
Drawing

Horizontal format architectural drawing depicting a two-storied structure on a high rusticated basement broken by three doors. Central double-columned pedimented loggia with large window behind.
Scabbard and sword
, 1596–1615
Steel, cord, iron, silver, gold, shibuichi

Long steel blade with hilt wrapped spirally with black cord. Beneath cord, pebble-like texture. Pine-tree menuki. Oval tsuba of iron, silver, gold, and shibuichi. Design is a man and frog. Haliki silver plate. Fuchi-Kashira-bird of shibuichi and gold. Mark of tempering: HAMON, Gume Midare. The nakago is tong and has two holes.
One of a set of twelve projects for the decoration of wall panels, to be placed at a height. Preceded by a title page
, 1675-1699
Pen, brush, sepia
Drawing

Left side with two angels
Fragment
, 19th century
silk, cotton Technique: cut and uncut supplementary warp pile (velvet)

Fragment of black cut and uncut velvet on white ground. Functional weft of white cotton. Serpentine floral design.
Gloves
, 1600–1650
Label: cut, sewn and embroidered leather gloves; silk satin gauntlets embroidered with metallic yarns; woven metallic fringe

Pair of white leather gloves with deep gauntlets of dark red satin. The gauntlets are embroidered in gold metallic yarns with a small repeating design of a fleur-de-lis, and are edged with gold fringe. Lined with yellow silk.
Chair
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of chair with a high back.
Verjette
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Design for a soft bristle brush decorated with ornament motifs including rinceaux, shells, and branched wreath. The plate is signed and numbered.
Panel
, ca. 1770
silk embroidery on silk foundation Technique: embroidered on satin weave

White satin with embroidery in colored silk and chenille in a design of flowers tied with ribbons.
Guéridon propre à porter des torchères
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a pedestal for a two-arm candelabra, decorated with ornament motifs including a vase, lion heads, wave pattern, garland, hanging flowers, and lamb tongue. The plate is signed.
Cartouche in Front of an Obelisk
Pierre Edme Babel, French, 1720–1775, 1743-1763
Etching on off-white paper
Print

Rocaille cartouche in front of an obelisk. The plate is signed and numbered.
Designs for Two Drawer Handles
, ca. 1820
Pen and black ink, brush and yellow, brown, gray wash on paper; verso: graphite
Drawing

Vertical rectangle. Designs for two drawer handles intended to be executed in metal, one below the other, the lower intended to be executed in two-colored metal. From a lion mask in the center below rinceaux are springing. The upper handle with a curved form. Verso: the same architectural plan as 1938-88-675 with the scale.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A rococo cartouche design featuring c-scrolls, foliage, flowers, scrolling acanthus leaves, and shell motifs, with a trophy of arms and armor below - a helmet, shield, quiver of arrows, sword, and flaming torch. The plate is numbered and lettered.
Pleated fan
, mid- 19th century
Paper leaf with gilded and hand-colored lithograph; pierced, gilded and painted horn sticks

Paper leaf with hand-colored lithographs hand painted in gouache. Obverse shows a group of men and women in a park. Reverse shows a woman and a little boy looking at needlework. Sticks are pierced and gilded horn painted with flowers.
Vase and Flowers
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a two-handled vase set on a socle, on grassy mound next to flowers, with a festoon of flowers and leaves intertwined. In the foreground a basket, horn, and shepherd's stick with ribbons. The vase is decorated with bands of vermiculation (pattern of irregular lines imitating worm tracks), with scrolling leaf handles.
Decorative door boss and nail
, 17th century
Wrought iron

Flat, square mount, pierced, shaped and embossed into a foliate quadrant design derived from earlier leaf patterns. Circular piercings. Notched square and domed nail head on square shank.
Sketches from Newfoundland and Labrador, Canada
Frederic Edwin Church, American, 1826–1900, July 14, 1859
Graphite on light brown wove paper
Drawing

Landscape and seascape sketches showing eight views around the coast of Newfoundland and Labrador, Canada. Top row, from left to right: a group of houses near the shore at left, and a floating iceberg with debris at right. Central row: two distant views of icebergs at left and center, and at right, a distant view of two sailboats at anchor. Bottom row: a distant view of a pointed iceberg at left, a sailboat with three sails shown in right profile at center, and a bird's eye view of a house standing upon posts, possibly on an island at right.
Mountain of the Holy Cross, Colorado
Thomas Moran, American, b. Britain, 1837–1926, 1886
Wood engraving on cream wove paper
Print

View of mountainous landscape with cross on mountain delineated in snow in the distance. Standing and fallen trees in and around river that runs through rock formation to a waterfall in the lower left of foreground.
Fantastic flower motif from "Nouvelle Suitte de Cahiers de fleurs idéales"
Jean-Baptiste Pillement, French, 1728–1808, ca. 1760
Etching a la poupée and orange, teal, green, indigo, and red ink on paper
Print

Two crossed imaginative flowering branches of leaves and blossoms in varying colors
Stuart Monument
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Intended for an intercolumniation between two embedded columns, and in a niche. Between the capitals is a frieze with an escutcheon supported by two flying putti, in front of drapery festoons. Below is a stereobate. The monument has below a pedestal with a high base, and a panel with a relief of figures. Above it stand two female allegories, leaning against the sarcophagus, which has the general shape of an urn upon a high base. Upon the cover kneel, at left a winged putti, in the center a putto and support the oval medallion with a bust portrait, sided by another putto, flying at right. Both putti support with their left hands the crown at top.
A Chimneypiece
, 1575–1600
Chalk, pen and ink, brush and watercolor on paper
Drawing

A chimney piece framed laterally by volutes. Above, a broken pediment, inside of which is a putto with scroll. Crest decorated with six pointed spheres. In the mantle is scrollwork framing an oval. Fruit hand from scrolls.
Urn stand
George Hepplewhite, 1786, ca. 1800
Mahogany, satinwood, rosewood and harewood; pine frame of top; brass mounting

Oval top edged with brass strip inlaid; rectangular slide with small brass handles. Square tapering legs splayed outward, ending in spade feet joined by X-frame stretchers. Legs have stainwood line inlay; frieze has satinwood line inlay, crossbanding of harewood, and small medallions of harewood inlaid above each leg. (Stretchers possibly replaced?)
A Young Man Running Toward a Fire
Filippo Marchionni, Italian, 1732–1805, mid- 18th century
Pencil, pen, ink, gray watercolors on paper
Drawing

A young man wearing a billowing cloth across his hips and holding a second between his hands, runs towards clouds of smoke on the right of the frame. His legs are depicted in profile while his upper body is shown from the rear.
Trial Proof for a Flower Chintz
, 1790–1800
Woodcut in multicolored inks on tan ground on white paper
Print

Intertwined meanders of tulips, morning glories, carnations and roses among stylized acanthus leaves with picotage effect. Printed in red, yellow, green, blue, lavender, and dark brown.
Developpement d'une Porte Cochere de l'ordonnance Ionique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Elevation of a porte-cochère decorated according to the principles of the Ionic order and with draped classical figures around an oval rondel above the doors, and with rosettes, fluting, and reliefs. The plate is signed and numbered.
Design for a Console Table
, ca. 1830
Pen and black ink, brush and brown and gray watercolor, graphite on paper
Drawing

Horizontal rectangle. Design for a console table with marble top. Two round legs with a basket capital above each. Above the capitals are palmettes in the table frame, which is decorated in the middle by an elaborate motif. At top, a scale in pen and ink.
Figure of a Male "Ranelagh" Dancer (One of a Pair)
Derby Porcelain Factory, English, established 1756, ca. 1765
soft paste porcelain, vitreous enamel, gold
figure

"Ranelagh" type figure. A) A cavalier dressed in pink knee-breeches, a pink cloak, and orange waistcoat with flowers and green sleeves. B) Lady dressed in orange skirt with large rosettes, pink bodice edged with blue and a scarf floating from feathers on her head. At her feet, a mask. Both are standing on scrolling bases with gilding and are supported by bunches of flowers.
Sidewall
, ca. 1710
Leather, stamped, painted, silvered

Strapwork pattern containing bellflowers, also foliage scrolls and trellis design.
Cover
Sybil Carter Indian Mission and Lace Industry Association, ca. 1900
linen Technique: cutwork, embroidery and bobbin lace

Cover with bobbin lace insertion and edging. At each end, there are three cutwork rectangles with embroidery in the design of a strawberry vine.
Sunset over the Ocean, Ecuador
Frederic Edwin Church, American, 1826–1900, May 29, 1857
Graphite on white wove paper; verso: graphite
Drawing

Landscape sketch showing the sun setting over the ocean near Guayaquil, Ecuador, amid billowing storm clouds. Ocean waters extend from foreground to horizon. At center, the sun emerges from behind a low lying cloud and sends sun beams across the sky. Large, puffy clouds hang in the sky above.

Verso: Landscape sketch showing view of tall palm trees and other dense vegetation along a steep riverbank on the Guayas River in Ecuador. River extends from foreground into the middle distance, where it meets the bank. A wooded hill is visible in background at left.
Pink Spotted Lilies and Maple Seeds
Samuel Colman, American, 1832–1920, 1875–85
Brush and watercolor, white gouache, graphite on grey-brown paper
Drawing

Two studies of pink spotted lilies, one facing right, the other from the front. Left, two decorative borders of maple seeds. Verso: two maple leaves, in graphite.
Sampler
, early 17th century
silk embroidery, linen foundation Technique: wrapped bars, eyelet, tent, rococo, and satin stitches on plain weave

Random spot sampler, detached motifs, with interlacings and geometric types.
Chemise
, 19th century
silk embroidery on cotton foundation Technique: embroidered on plain weave

Woman's chemise with a plain white cotton top, intended to be worn under an embroidered blouse. The bottom is heavily embroidered in dark polychrome colors in a highly formalized floral design.
Map of Bavaria
François de Cuvilliés the younger, German, 1731 - 1777, ca. 1770
Etching and engraving on paper
Print

A map of Bavaria, Germany with a scale and title lettered below topped with a coat of arms with putti, globes, and measuring devices. The plate is titled, numbered, and signed.
Arabesque Ornament Design
Etienne de Lavallée, French, 1735 – 1802, 1788–89
Aquatint and etching on laid paper
Print

A plate with an arabesque ornament design below featuring a vase, faun head masks, incense burners and scrolling acanthus leaf motifs. Above a fluted lidded vase with an acanthus leaf finial, with creatures as handles and the winged head of Apollo on its body, flanked by two portrait busts, all placed on a carved stone decorated with two lions fighting each other with acanthus leaf motifs. The plate is signed and numbered.
Design for a Bracelet with Alternate Suggestions
, 1825–50
Pen and ink, brush and watercolor on paper
Drawing

Round blue stones surrounded by smaller ones, forming flowers. Connected by two and three rings with snake heads.
Design for a Feather Headdress
, late 18th century
Pen and black ink, brush and sepia wash on paper
Drawing

Jewelry design for a headdress in the form of a feather. Below at left, a stem with a blossom, a bead, leaves; at right a stem with bead and leaves, fastened to a long feather by a knotted ribbon. Beveled corners.
Designs After Architecture Fragments
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 gueridons, rondels, pediments, cornices, capitals, and cartouches. The plates are numbered but not signed.
Figural Study of a Man
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Red chalk, pen and ink on paper
Drawing

Figure of a crouching man, shown from behind.
The Elevation of a Reliquary of a Skull
, 1780-1810
Pencil, pen, and black Chinese ink.
Drawing

Work oriented in a vertical rectangle. Two angels stand upon a pedestal and support with their right hands the base of a reliquary casket. They address themselves to an imaginary public. A skull is shown in the casket; the name of the martyr is indistinctly printed in a heart form at the bottom of the casket. The casket is decorated with cherubim and festoons; a plant grows on top on a pedestal. A medallion decorates the main pedestal; apparently it represents a woman in a lion's den.
Door Knocker or Handle Designs
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Two half designs for door knockers or door handles featuring an eagle, lightening bolts, terminal figures, garlands of flowers, rosettes, masks, shells, scrolling acanthus leaves and fruit. Below, a half design for a rosette with fleurons and acanthus leaf motifs and two-part views of bolts(?) with similar motifs. The plate is signed and numbered.
Christ and the Adulterous Woman
Francesco Saverio Mergolo, Italian, 1746–1786, 1750–60
Brush and gray wash, pen and brown ink, graphite on paper
Drawing

The woman, soldiers, and two disciples at left, Christ with others at right.  He points at the words He has written.  The woman rather undisturbed.
Outline Sketch of a Wagon Train
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down on gray paper
Drawing

Vertical view showing outline of a wagon train.
Wall Elevation
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Shaped like an apsis. The main part is decorated with a kind of temple front with a female statue in each of the five intercolumnia. Above it, below the cornices of the entablature, is a frieze with figures. On either side is a door with a bust in a round niche and a rectangular representation above. Above the entablature is a row of four windows, alternating with three figures in niches. On top a row of panels. At right is a scale with 15/12  4 5/4 [over 1 3/4] and 5 1/12 inscribed in a rectangle as height. Usual background.
Anatomical Sketches of Heads, Faces, and the Ear
Frederic Edwin Church, American, 1826–1900, 1877–80
Graphite on green-gray wove paper
Drawing

Figure sketches showing multiple anatomical views of heads, facial expressions, and the ear. In the upper portion, two rows of six heads are visible: in the upper row, one face is viewed in left profile, another frontally, and another obliquely. In the lower row, all three heads are presented in left profile. At center, another row of three heads is shown: at left, an adult male head in left profile, labeled "Englishman," a baby's face at center, and at right, a diagram of a head in left profile. Below these sketches, two representations of the ear are shown: one viewing the ear directly and another from behind. At right, two overlapping heads are viewed from behind. In the lower left corner, another head is viewed from behind above two simplified renderings of an angry face--one shown frontally and another in profile. At lower right, three similarly simplified facial expressions are included: one of latency or boredom, another of mirth or pleasure, and another of melancholy.
Sidewall
Walter Crane, English, 1845–1915, 1875–1900
Block-printed on paper

Formal design of urn containing triple-branched tudor rose plant with leaves and quatrefoil blossoms, placed with cartouche shaped by flanking corinthian columns and acanthus scrolls. Adjoining areas contain oval wreaths, ribbons and bowknots, hanging fruit clusters, printed in light and
Flounce
William A. Clark, American, 1839–1925, 18th century
linen, cotton Technique: bobbin lace (discontinuous)

Deep scalloped flounce with a design that consists of alternating medallions separated by a lace-like scrolling forms and filled in with foliage and bowls of fruit. Possibly from Brussels/Brabant area. Ground is made of heavily picoted bars.
Jar
, 18th century
Glazed earthenware

Body swells at upper section, raised rim.  Glazed white background; a wide band of blue dots intersperced with larger blue concentric circlular motifs; above that a diapered band,  at top a band of crossed circular motifs; blue band at rim.
Table cover
, mid-19th century
wool Technique: block printed on plain weave

Printed wool rectangular table cover. Field: medallion surrounded by a wreath of flowers on maroon field. Border: elaborately edged repeat of floral band and medallion which round the corners. Note stag head on inside border at corners. Dark somber colors.
Band
, early 17th century
linen Technique: needle lace

Needle lace with vertically symmetrical pattern with cornucopia and flowering vines. Edges of pattern outlined by buttonhole stitches over a cord.