biglam/cooper-hewitt-alt-text huggingface dataset:
Handkerchief
, ca. 1800
linen Technique: bobbin lace made in Lille style with heavy outlining thread

Handkerchief made in Lille-style edging.
Roman Ruins with Figures
Giovanni Paolo Panini, Italian, 1691 - 1765, ca. 1745
Graphite, brush and watercolor on white paper
Drawing

Vertical rectangle. Unfinished composition showing a ruined vaulted structure before which is a relief showing three standing figures. At left, sculptures of the Belvedere Torso [Vatican Museum] and the Borghese Warrior [Louvre]. Various figures in conversation.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed side-by-side on a single sheet. The designs feature female figures seated on plinths surrounded by ornament with a vase with flowers and foliate branches, birds, winged putti, cornucopia of fruit, ribbons, festoons of leaves, shell, snakes, a cartouche with figures, rosettes, fleurons, foliate scrolls, and scrolling leaves (rinceaux). The plates are signed and numbered.
Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The elevation of a bathrub sarcophagus, supported by two bases. Colored background.
The Parthenon from the Southeast, Athens, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper
Drawing

Architecture sketch showing a view of the Parthenon in Athens, Greece, from the southeast. Prominently situated at center, the temple extends obliquely into the distance from right to left. The facade, at right, is dark and enshrouded, while the colonnade at center is brightly illuminated. The ruinous section at center with several fallen columns is prominently visible. The ground around the temple is comprised of hasty pencil scratches.
Five Motifs for Ornamental Arabesques
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1770
Pen and brown ink with ink wash, graphite on three pieces of paper
Drawing

Above, arabesque motifs of two arms joined by a half figure in the center, and upon which two nude figures sit.  The figure in the center holds up a line with garlands.  Center left, an arabesque terminating in a nude standing warrior with spear and shield.  Center right, a flying nude figure holding a medallion from which is suspended two garlands and a lamp.  Lower left, a corner motif of a ceiling decoration with arabesques, sphinxes and winged genii.  Lower right, a vertical arabesque panel that includes a siren from which is suspended an oval medallion, and above, a standing putto holding two draperies. Ink framing lines.
LA GÉOGRAPHIE
Clément Pierre Marillier, French, 1740 – 1808, 1759–80
Etching and engraving on laid paper
Print

Allegorical vignette representing geography from a series of twelve (including title page). The title is lettered in the center on a large rock surrounded by trees and plants. In the foreground a putto sits on a globe holding a caliper, measuring the distance between two islands. Around him are maps, portfolios, books, measuring devices, an armillary globe, compass, telescope, and a roundel portrait of Buache. Lettering below the vignette and the plate is signed.
Design for a Stagecoach
Richard de Lalonde, French, active 1780–96, 1780-1796
Etching on off-white laid paper
Print

Profile and rear view of a design for a stagecoach decorated with ornament motifs including trophies, vines, urns, flowers, ram head, acanthus leaves. The plate is signed and numbered.
Embroidered picture
, late 18th century
silk, metal, glass beads, paint Technique: chain and satin stitches on plain weave

Pavilion with inscription "A l'amitie" and a bird placing a wreath on an altar.  Trees, grass, chapel and priest as borders.
Fountain
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Four lions upon pedestals. From their mouths pours water into the round basin. In its center stands the figure of a nude man, upon a round pedestal. The basin stands upon a platform, to which steps lead at the front. Usual background.
Pedestal Designs
Gilles-Marie Oppenord, French, 1672–1742, 1737–38
Etching and engraving on laid paper
Print

Four pedestal (plinth) designs (half views) featuring rococo and classical motifs - masks (mascarons), rosettes, shells, fleurons, and acanthus leaves. The plate is numbered and signed.
SOUPIÈRES ET CULLIÈRES.
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Two designs for soup tureens and four spoons with Empire style motifs. The upper design features a lid with freestanding figures dancing around a herm, and a cartouche, rosettes, and foliate scroll motifs, with bird heads as handles. The lower design's lid features a satyr/faun and a man seated at a table with bowls, bird handles, and a female figure, rosettes, foliate scrolls, and leaf ornament. The plate is titled, numbered, and signed.
Design for an Embroidery or Woven Fabric of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1800–1815
Brush and light blue, white, and brown gouache on glazed tracing paper
Drawing

A row of four hanging feathers is shown at the bottom. A fifth one rises from the interval between those at left.
Angel Appearing to Joachim
Marc Antonio Raimondi, Italian, 1483 – 1527, ca. 1515
Engraving on paper
Print

In right foreground, Joachim kneeling; left, above him an angel in three-quarter view. In mid-distance, shepherds with herd. In background, mountains, a sea, and a port.
Portrait of Stefano Fiorentino
, 1690-1720
Engraving on paper
Print

Bust-length portrait of an old bearded men in three-quarter view facing left, in a medallion which is set into an elaborate framework of flanking pillars joined by an entablature upon which a muse is painting the portrait of Stefano. Two putto seated on brackets at the base of the pillars.
The Zodiac
, ca. 1800
Pen and brown ink, traces of graphite on off white laid paper
Drawing

A circle with enthroned Zeus at the center. Framing him is a laurel wreath. Surrounding this are symbols of the zodiac.
Frieze
York Wall Paper Company, 1895, 1890–1920
Machine-printed

Delicate urns and floral ornament with foliate band running along the bottom edge.  Printed in white and gold on a background that fades from medium blue at the bottom to a pale blue at the top.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a lidded vase with two handles. The body is decorated with acanthus leaves, fine fluting, and a braided frieze. The lid of the vase is held up by seven putti, standing on the rim of the vase. The plate is singed, dated and numbered.
Border
, 19th century
linen Technique: bobbin lace (Valenciennes diamond ground)

Border with a design of joined flower and leaf motifs with dots and a scalloped edge.
Profil de Lit à Chaire à Prêcher
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Profile and plan of an elevated bed with a canopy and decorated with ornament motifs including floral motifs, urns, and drapery. The plate is numbered.
Gaines
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for three pedestals decorated with ornament motifs including lamb tongue, fluting, rosette medallion, leaf garland, mascaron, acanthus leaves, and egg and dart. The plate is signed.
Section of wall, Council chamber of Louis XV
Frederick Marschall, ca. 1885
Brush and watercolor, tempera on heavy paper
Drawing

Section of wall, with painted panels of flowers, figures, trophies, in rococo manner. Left, portion of doorway recess; upper portion, semicircular with painted landscape in blue tones.
Mountain View, El Yemen Valley, Palestine (Israel)
Frederic Edwin Church, American, 1826–1900, February 20, 1868
Graphite and white gouache on gray wove paper; verso: graphite
Drawing

Landscape sketch of a precipitous flat-topped mountain in a region known to Church as the Valley of El Yemen. Viewed obliquely, the mountain is characterized by its vertical cliffs on either side, which are made up of rounded, undulating vertical forms. Various slopes and washes are visible around the base of the mountain in middle distance. Other rocks and bluffs are shown in the foreground.

Verso: Loose landscape sketch of a boulder or rock formation in a region known to Church as the Valley of El Yemen. The rock formation dominates the composition at center, with outlines of mountain ridges in the background.
Four projects for a door
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Divided in two rows. The designs top left and bottom row are variation of the design -1658. Top right. Similar to -1730; the inscription reads: PROVIDET. / PAVPERES". The four escutcheons are shown in the niche on top. Colored background.
Design for a Necklace
, ca. 1770–80
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Jewelry design for a necklace. Four chains of pearls form a horizontal band at top and a curving band below, attached to the horizontal chains by rosettes of leaves. Evenly-spaced rosettes of similar style adorn both chains. Hanging from the center of the horizontal band's largest rosette is a knotted ribbon that holds a drop. Hanging from the center of the curving band's central rosette is a hanging chandelier of four chains consisting, alternatingly, of one and two pearls.
Chairs
Giuseppe Barberi, Italian, 1746–1809, 1780–90
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

At left and at right are arm chairs, seen from the front. The first is with a cushioned seat, the back with an escutcheon inside, with scrolls above it, as an outer frame. The next chair is similar to the first, with a roll-shaped, S-curved back. Above, at center, is an armchair with a curved back, like that of a mirror frame. To the left, above, is another armchair, similar to the previous.
Galerie métallique des grands hommes français (Great Men of France)
Auguste Masson, French, 1802 - 1870, 1818
Cast bronze
Medal

Bust of Jean Potrou.
Sampler
, 1697
silk and metal-wrapped silk embroidery, linen foundation Technique: cross and double running stitches on plain weave

Detached motifs of religious significance plus animals, birds, flowers.
Elevation of a Church for Monte Vergine
Giuseppe Barberi, Italian, 1746–1809, 1784
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

Cross scheme with dome. Four embedded columns support the entablature and a triangular pediment in the central section of the facade; it is flanked by bays showing two windows in a vertical row.
Design of an Altar mensa
Unknown, Italian, 1650-1675
Pen and ink, brush and watercolor, charcoal, graphite on paper
Drawing

Laterally are two projecting pilasters, decorated with rinceaux. The central part is decorated with a broad oval, framed by mouldings. Below are cornices of a broken pediment, with angels standing on them; they carry branches and support a framed oval representation of Christ, sprinkling holy water upon the dragon of the devil. Above this oval is the napkin of St. Veronica. Outside the broad oval are at left: the half-figure of a dragon (referring to the Buoncompagni), shown in profile, turned toward left.
Veüe du Palais d’Orleans appelé Luxembourg
Gabriel Perelle, French, 1604–1677, late 17th century
Etching on laid paper
Print

View of the Orleans Palace in Paris, from above with a view of the inner courtyard and gardens with parterre, fountain, and trees in the background. The façade features blind panels, pilasters, windows, balustrades, a dome, rustication, and pediments. Figures, horseman, and carriages in the foreground and throughout the grounds. Details are numbered with an explanatory legend below. The plate is titled and signed.
Deux diferents desseins de Tables
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevations of designs for two console tables with the plans of their marble tabletops. The table frame is comprised of ornament motifs including trelliswork, dragons, putti playing musical instruments, putti with garland, and vines. The plate is signed and numbered.
Hillside
Frederic Edwin Church, American, 1826–1900, 1868–80
Brush and oil on white paperboard
drawing

Landscape sketch showing a view of overlapping hillsides. In the middle distance at center, a dark brown, purplish hillside descends from center left to lower right, while a bright yellowish-green patch of terrain is visible beyond it at right. In the background, a distant, rolling mountain range is rendered in a gradient from pink to light purple.
Seascape near Newfoundland, Canada
Frederic Edwin Church, American, 1826–1900, July 2, 1859
Graphite and white gouache on light brown paper
Drawing

Seascape sketch showing a view of the low sun reflecting its light off of the surface of the ocean near Newfoundland island, Canada. Rippling ocean waters extend from the foreground to the horizon in the background, and reflect the sun's light along a central vertical axis. Above, the hazy, possibly rising sun illuminates the edges of low lying clouds near the horizon.
Textile
Dutillieu & Cie, French, early 19th century
silk Technique: double-faced cloth with supplementary warp pile (velvet) cut on face, uncut on reverse, warp-printed

Two profile portraits, each in an oval frame with a fleur-de-lys in each corner. Woman in a turban with fathers, man in powdered wig and military uniform.
Fragment
, early 17th century
gold and silver wrapped silk threads Technique: bobbin lace

Band of deep pointed lace with narrow border at top. Rosette within circle on each point.
Pleated fan
, ca. 1840
Gilded paper leaf with chromolithograph, pierced and gilded ivory sticks

Pleated fan. Gilded paper leaf with chromolithograph. Obverse: a garden scene, couples strolling. Reverse: a courtship scene with putti and baskets of flowers. Pierced and gilded ivory sticks.
The Wedding of Hebe and Hercules
Felice Giani, Italian, 1758–1823, ca. 1813
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Lovers sit on bed. Two putti part with club and lion skin.
Pied de table pour entre-croisées
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an entryway table. The table is decorated with ornament motifs including Greek key pattern, lamb tongue, rosettes, ionic capitals,and acanthus leaves. The table is topped with a vase. The plate is signed
Developpement d'une autre Porte Corinthienne
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for an arched door decorated in the Corinthian order and with a balcony above, decorated with rosettes, guilloche, fluting, medallions, bar course, lamb tongue, egg and dart, and narrative scenes inspired from antiquity. The plate is signed and numbered.
Border
, 1810–15
Block-printed on handmade paper

Between two narrow bands simulating molding is a ribbon entwined with green banding which flows in serpentine horizontal lines. At regular intervals the streamer is tied with shirred ruching.
Impériale du lit à double Voussure
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Designs for the construction of a double-arched canopy, for the "lit à la Polonoise" (1921-6-279-7). The plate is signed and numbered.
Study for "Scientific Group"
Daniel Huntington, American, 1816–1906, 1858
Graphite on lined white laid paper
Drawing

Man seated at a table, listening to someone at his left. His knees crossed; his right hand near his chin.
Assumption of Mary
, 1670–1700
Red chalk, graphite on laid paper
Drawing

Mary is shown with outspread arms standing on a lunar crescent with a serpent wound around it. Four winged putti surround her and while holding on to her coat they carry her up into heaven.
Map sampler
Jane Flint, 1784
silk embroidery, linen foundation Technique: satin, cross and tent stitches on plain weave

Europe with names of countries and bodies of water in embroidery.  Upper corner reads "A Map of Europe by Jane Flint 1784."  Lower margin has alphabet.
Title Page
François Boucher, French, 1703–1770, 1735
Etching on paper
Print

Title page for a series of prints. The title is lettered within an asymmetrical cartouche framed with rocaille motifs on a plinth with foliage in the background, and draped textile in the foreground. A putto holding an arrow is seated to the right, and a standing putto with his arms up supporting the cartouche to the left. The plate is numbered.
Articulated Toast Rack
Christopher Dresser, Scottish, 1834–1904, 1881–1883
silver plated, metal
toast rack

Toast rack with seven sets of parallel posts with connecting rods and ball joints, the center section raised to serve as a handle. Curved base on four ball feet.
Hall stand
Coalbrookdale Company, Coalbrookdale, Shropshire, England, founded 1709, ca. 1875
Cast iron, marble, glass, brass

Large, cast iron frame, rectangular in shape, composed of top mirrored section and table-like base. Top section has oval mirror at center, with two rows of six hooks either side; iron framework ornamented with molded and pierced oriental stylized leaf motifs, two dog-like figures at top corners, and turkey head top edge of mirror. Base has inset marble top, central drawer with projecting brass(?) knob. Removable trays lower sides with curved supporting rail above. Stretcher at base. Ironwork ornamented with stylized leaf patterns, as top section.
Towel
, early 17th century
linen, silk Technique: embroidered on plain weave using double running stitches for linear details; background area has horizontal and vertical wrapping stitches pulled tight to deflect groups of warps and wefts; weft loops in a countered two units of four-strand twining

Towel with an embroidered end and side borders in red. The embroidery fills the background of the pattern in a pattern of a curving vine. Decorative silk fringe sewn to four sides in red and white block pattern.
Fragment
, 1805
silk Technique: plain compund satin weave

Red satin ground with figure of rosette in gold-coloured silk.
Design for a Mass-Operational House Designed by Hector Guimard, Construction of Iron Supports
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing the construction of iron supports.
"L'Abreuvoir" (The Well)
Jean-Baptiste Huët, French, 1745–1811, 1792–1815
cotton Technique: printed by engraved plate on plain weave
chef de piece

Design in red on white. Several scenes including dancing couple, rural inn, and boys bowling.
Les Chinois
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, ca. 1810
cotton Technique: plain weave foundation; red printed by engraved roller; yellow added by block or brush Label: Roller-printed on cotton; yellow added by block or brush
Textile

Small scenes depicting religious and secular architecture in China, many of which are derived from illustrations in "An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China" (London, 1797). The fortress at Yangchow (center), and warriors, is based on the drawings of William Alexander. Printed in red with white reserved and a yellow ground.
Tile
Louis Comfort Tiffany, American, 1848–1933, 1880–90
Glass

1958-48-1: Square tile with brown to maroon marbleized design...;     1958-49-1: Green glass, yellow circle, brown infill, abstract...;     1958-50-1: Burgundy glass, abstract design.50
Fragment
, 18th century
linen Technique: bobbin lace, discontinuous tape

''Punto de Milano''. Straight edge. Scroll pattern.
Study of Left Foot
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on blue-grey paper
Drawing

Foot turned slightly to the right, the heel off the ground. Verso: elevation with arches above, floor plan below.
Plaque
, early 17th century
Ebony, carved

Carved with a representation of the fable of the Lame and the Blind. Octagonal panel.
Band
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Loosely worked design of a scrolling vine with large flower blossoms in an open mesh.
Wooded Landscape With a Stream and Fisherman
Antoni Waterloo, 1618–1677, ca. 1650
Etching on paper
Print

A farm group, at the edge of a woods, left, borders a stream. In the right middle distance a man fishes from a skiff.
Rebozo (shawl)
, late 18th or early 19th century
silk, metal-wrapped silk core Technique: embroidered plain weave with supplementary warp

Rebozo woven in dark blue, light blue and white stripes. Supplementary warp patterning in simple geometric designs in dark blue and gold thread. Embroidered with dark and light blue silks and gold thread with figures, buildings and animals.
Textile
, 18th century
cotton Technique: block-printed

Fragment, in polychrome, showing flowering tree pattern with chinoiserie figure in swing, attached to branch, looking at squirrel.
Sampler
, 1784
silk embroidery on wool foundation Technique: embroidered

A E V H 1784 in a wreath, with potted plants, funiture, alphabets and numerals.
Via crucis - Station II, He Takes the Cross on His Shoulders
Giovanni Domenico Tiepolo, Italian, 1727 – 1804, ca. 1749
Etching on cream laid paper
Print

Vertical rectangle. Jesus carrying the Cross, emerging from an archway.
Textile
, late 17th century
wool on wool; linen Technique: crewel wool long and short stitch embroidery on twill weave

Scalloped scrap, wool twill backed with linen, heavily embroidered in polychrome wools in simple, stiff floral design, mostly in long and short stitch.
Set of Trophies, from "Trophey a l'Antique"
Jean Le Pautre, French, 1618–1682, 1680
Etching on paper
Print

Shows two designs; bordering line. Left, with a panoply and two flying puttos. Right: suspended from a bracket. Weapons, two candelabra, two flying puttos.
Hercules Slaying the Hydra
Hans Sebald Beham, German, 1500–1550, 1542–48
Engraving on off-white laid paper
Print

Horizontal rectangle. Hercules is shown at left, holding his club with both hands above his head, about to strike the many-headed Hydra. His nephew, Iolaus, at right, is burning away the heads of the water serpent.
Ticket to the World's Columbian Exposition, Expressly for Manhattan Day, Oct. 21st 1893
World's Columbian Exposition, 1893
Offset lithograph on wove paper
Print

Horizontal format; ticket expressly for Manhattan Day, Oct. 21, 1893, No. 203857. (XC '68)???
Cover
, 1875–1900
wood

Circular box. On black lacquer full-length figure of an old man in kimono with staff over his shoulder from which is suspended a bundle. Figure sketched in beige with red shoes and staff.
Moon-Light
John Sartain, American, 1808–1897, 1847
Mezzotint and engraving in black ink on paper
Print

Horizontal rectangle. A night scene, with a full moon in the background. View of a lagoon, with gondolas. Buildings on both sides.
Vignette, Locality with a Factory at a Port
, ca. 1840
Wood engraving on paper
Print

The port with two moored boats and a row boat is in the right foreground and middle distance.
Trimming fragment
, ca. 1830
silk Technique: woven

Curving scroll ending in a flower. In yellows on red.
Border
, ca. 1850
Machine-printed

1965-59-1-a/h: Lozenge pattern on light brown background, diamond...;     1965-59-3: Herring-bone pattern in two closely related shades...;     1965-59-4-a,b: Narrow border running horizontally across bottom o...
Textile
Nicholas Koechlin, ca. 1830
cotton Technique: printed by engraved copper plate on plain weave

A single vignette repeated vertically: "Arrivee de Louis Philippe a la Chambre des Deputes." Louis Philippe on horseback surrounded by officials and other spectators. Printed in red on white.
Fragment
, 16th–17th century
silk Technique: velvet

Maroon velvet in repeated small scale floral pattern against ecru ground.
Textile
, 1875–99
silk Technique: brocade

White satin with scattered bud design and bottom border of stylized leaves brocaded in gold. Small fragment with a continuous leaf motif in gold.