biglam/cooper-hewitt-alt-text huggingface dataset:
Proposed Additions to an Octagonal Church
Bernardino Sozi di Vincenzo, Italian, 1573 – 1603, 1573
Pen and brown ink, brush and brown wash, black chalk on paper
Drawing

Design for proposed additions to an octagonal church. The structures project from the choir of a church, the choir being three sides of an octagon in the plan. The plans of each structure are halves of hexagons.  The elevations show sockles, orders of imbedded Doric columns containing niches and being triangular pediments, balustrades from which obelisks rise in the lateral structure, upon which statues stand, in the center.  Segments of lanterns and domes form the top parts, the central one being much higher and more elaborate than the lateral ones.
Fragment
, ca. 1811
cotton Technique: printed on plain weave

Fragment of two pieces shows women and children seated at a table. Above is a rectangular panel showing a harbor scene of a man rowing a small boat with a box inscribed with the initials "DM." A couple stands together in conversation on the shore.
Galerie métallique des grands hommes français (Great Men of France)
Joseph-François Domard, French, 1792 - 1858, 1821
Cast bronze
Medal

Bust of Louis-Mathieu Molé (1781 -1855).
Trimming
, 19th century
silk Technique: cut supplementary warp pile (velvet)

Trimming fragment in a wave pattern in black on a white ground.
Riche Berline montée sur des Ressorts en C
Janel, French, active 18th century, 1760-1790
Etching and engraving on laid paper
Print

Design for a sedan with images showing the profile, the face of the carriage, and a detailed diagram of the spring mechanism. At left, is a key of the plan for the design. The sedan is richly decorated with painted scenes of putti on clouds holding a coat of arms, as well as clouds with urns and wreaths. The sedan is carved with ornament motifs including bead and bar course, rosettes, bouquets, and egg and dart. The plate is signed and numbered.
Fragment
, 17th century
silk, silver-gilt-wrapped yarn Technique: embroidered on supplementary warp pile (velvet)

Textile fragment with symmetrical goldwork design inside a scrolling border.
Project for a Window
, 1730–1740
Pen and ink, brush and wash on off-white laid paper
Drawing

View of a window in the main story of a building, with a mezzanine above it.
Spoon
Phillipe Berthier, French, active Paris 1841-1851, 19th century
silver
spoon

Oval bowl, the flat shaped stem engraved with roses, with central twisted section, with circular crusher terminal.
Clouds at Sunset over the Catskills, Hudson, New York
Frederic Edwin Church, American, 1826–1900, June 25, 1863 and July 6, 1863
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the sun setting over the northern portion of the Catskill Escarpment and illuminating numerous clouds above, as seen from the artist's property in Hudson, New York. At lower center, the orb of the sun hangs just above a long, puffy cloud bank that stretches over the rugged contour of the northern Catskill Escarpment, which extends out of the frame at lower left. In the sky above, a large, puffy cloud is situated among other longer and wispier clouds--all variously illuminated by the sun.

Verso: Atmosphere sketch showing views of the sun in a cloudy, hazy sky, likely as seen from the artist's property in Hudson, New York. Visible through haze at center, the sun is sandwiched between two long, dark banks of hazy clouds. At upper left, a separate vignette of the sun seen through hazy clouds is included. Included at far right and distinguished by a vertical line is the leftmost fragment of a panoramic view that continues on 1917-4-1011, showing the contour of the rugged mountain ridge.
Design for a Woven Fabric
, 1825–1850
Brush and blue, yellow, beige, and red gouache on oily tracing paper
Drawing

Vertical rows of undulated stems with elaves and seeds into parts of which are stuck alternating and stafggered in alternate horizontal rows a bough with leaves and seeds and a bought with blossoms and seeds, crossing each other and a downwards directed bough with leaves and seeds. White stripe at left.
LES FILLEUSES
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Print

A plate from a series of singerie scenes after Huet. Two female monkeys dressed in dresses and bonnets sit around a spinning wheel, both holding distaffs. The monkey to the left sits on a chair, and the one to the right sits on the floor. The plate is titled, signed, and numbered
Jar and lid
, late 19th century
Porcelain, bronze

1926-22-181-a,b: Octagonal jar and lid decorated with a fight scene...;     1926-22-181-c,d: A jar and lid decorated with a fight scene in enam...
Purse
, early 19th century
silk, copper beads Technique: embroidered on satin foundation

Woman's purse of gray satin embroidered with silk ribbons and colored silk floss. Copper beads stitched in pairs on the seam.
Project for the Decoration of an Oblong Panel
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1780
Brush and watercolor, black chalk, and graphite on white laid paper
Drawing

Below is a calix from which two curved rinceaux spring.  They end laterally in blossoms from which candelabra rise. They end above the head of the half-figure of a child. From the flowers and the lower scrolls of the figure hang festoons toward the candelabra. Birds are upon the upper ones from which trophies hang with implements of Cupid. Butterflies are at the ends of threads held by the birds.
Ornamental Vase Design
Edme Bouchardon, French, 1698–1762, 1737
Etching on laid paper
Print

The neck of the vase is tall and fluted. Griffins sit on either side of the spout, their front paws on the low handles. The body of the vase is ovoid in shape. A snake wraps around the foot of the vase and holds a branch of oak leaves in its mouth. This branch adorns the otherwise plain body of the vase. The vase is raised on a simple, low, square pedestal. The plate is lettered and numbered.
Sidewall
, ca. 1700
Leather, stamped, silvered, painted

Field diapered, varnished silver, foliage in red, white and green.
Title Page
Edme Bouchardon, French, 1698–1762, 1738-1749
Etching on laid paper
Print

A vase with two scrolling handles tops a fountain set in a spherical niche. Two tritons grip the base of the vase, and their fins merge with a grotesque mask. Water spills from the mouth of the mask into and over a half-shell basin, below which the title of the series is inscribed. The plate is lettered and numbered.
Design for a Carriage
Johann Michael Hoppenhaupt II, German, 1709–ca. 1778, 1753
Etching and engraving on white laid paper
Bound print

Design for a rocaille ornamented carriage. The roof of the coach is domed with tassels hanging down. Plant ornament encompasses the coach from its door to its wheels; other decorative motifs include a dragon, shells, and masks. The carriage has panels of painted pastoral theme.  At the back of the coach, a crown is set upon a cushion. The plate is signed.
Fragment
, early 19th century
linen Technique: cutwork, buttonhole stitches

Natural-colored linen with a cut-out design outlined in buttonhole stitches. Border of five-petal blossoms and a central rosette with foliage.
Ornamental Vignette
Robert Menge Pariset, French, active 1732 – 1762, mid- 18th century
Etching on laid paper
Print

Fourth plate from a series of eight fantastical ornamental vignettes. In the center, an ewer on a plinth with fruits, flowers, foliage, and tree trunks in the foreground. The ground is suggested with some shading. The plate is signed.
Porte Cochere avec Atigue, necessaire aux Sculpteurs et Menuisiers
A. Le Canu, French, active 1746 – 1768, ca. 1768
Etching and engraving on laid paper
Print

Design for a set of exterior double doors decorated with rococo ornament and motifs. The arched doors feature central vertical curvilinear panels (boiseries) divided into two parts with molding decorated with flowers, sprigs, rosettes, gadrooning, scrolling leaves (rinceaux), fleurons, shells, and rosettes. The door paneling includes central rosettes framed by flowers and leaves. The lower panels of the doors are decorated with geometric marquetry designs. There is a plan view of the doors below along with a scale. The plate is titled. Other copies of this plate with varying background shading are bound in this album - 1921-6-359-6 and 1921-359-7.
Fragment
, 1850–99
silk Technique: machine made

Black lace with narrow border of open flowers, ribbon and dots.
Design for an Agraffe
Girolamo Venturi, ca. 1742
Graphite, pen and ink, brush and sepia on paper
Drawing

Large bow-like design with stones and vertical hanging figure eights with stone at center.
Sampler
, 1757
silk embroidery on linen foundation Technique: cross, satin, stem and knot stitches on plain weave

Cross borders containing geometric and floral patterns, alphabets, numerals; in panel are two medallions with initials "MDF" and "ISG" and the date "1757."  Also features Crucifixion, Pascal Lamb, St. George and the Dragon and various animals.
Fragment
, 16th century
silk, metallic Technique: raised supplementary warp forming pile in a 4&1 satin foundation with supplementary weft.

Large-scale cartouches in red, green and metallic. Worn. One selvage.
Arabesque Design
Michel, French, active 18th century, 1780-1784
Etching on laid paper
Print

Arabesque design with two satyr children playing pan pipes. At the top of the arabesque is a bird with wings outstretched, standing on a snake. Below the bird are vines, garlands, and reeds forming into candelabra. Hanging down the side next to the satyr children are trophies with musical instruments: on the left, a horn, a violin, and a musical score; on the right, a lyre. Below the satyr children are twisting reeds that terminate in putti forms who hold garlands of flowers. The plate is not signed or numbered.
Alcove with the Daughters of Pelias Assassinating their Father
Jean Le Pautre, French, 1618–1682, 1658–1703
Etching on laid paper
Print

A scene with a canopy bed in an alcove and figures, a man lying on the bed with a woman holding a dagger above her head and attacking him with other women behind her. To the right of the bed soldiers and men, including one soldier wielding his sword and holding a shield. The scene is from Greek mythology featuring the king Pelias being assassinated by his daughters. The alcove and flanking walls are decorated with ornate paneling, fluted pilasters, cornices with carved moldings, a medallion with a profile portrait, and putti. A female figure pours liquid from a jug into a large smoking basin placed above a fire. The scene is described below. The plate is signed.
Croisée en Draperie contrarié à Fronton angulaire
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a window drapery pulled to the side with tassels. The plate is numbered.
Earring holder
, mid-19th century
Silver

A) and B). Silver wire shaped to fit around ear; hook at bottom to hold earring.
Textile
, ca. 1770
silk Technique: chain stitch embroidery in colored silk and chenille on ribbed (compound satin) weave

Panel made of fifteen fragments of embroidery, floral pattern in colored silks and chenille (chain stitch) on ribbed silk with satin stripes (fancy compound satin). Selvage of three narrow green stripes.
Design for an Altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper
Drawing

The sepulchrum stands as a sarcophagus in the hollow of the mensa, framed laterally by panels. In the center of the furniture rises the tabernacle, having laterally two angels with candle brackets. At right, beside the mensa, is another project for the tabernacle. It has the shape of a canopy hanging from a crown which is supported by the arms of two standing angels who open the curtain with their hands. A chalice seems to be represented upon the door. The dimensions are described in the project at left. Above and below are pencil outlines of architectural details with some measurements.
Royal Alcove
Jean Le Pautre, French, 1618–1682, 1656–57
Etching on laid paper
Print

An alcove with a bed in the center behind a carved balustrade, flanked by doors with views of a garden landscape beyond. The alcove is framed by hanging textiles with fleurs-de-lys, and two angles in the center holding a large French royal crown, with ornately carved paneling and molding featuring scrolling leaves, wave pattern, and gadrooning. The canopy above the bed is supported by caryatids and decorated with scrolling leaves, and festoons of flowers. The plate is signed, numbered and includes a scale below the scene.
Purse
, early 19th century
silk, leather, wool, canvas Technique: embroidered

Case covers of canvas embroidered in wool. Classical border motif encloses classical figures: one is a full-size figure, and the other is a bust. Lined in green silk.
Band fragment
, 15th century
silk, linen Technique: complementart wefr 2/1 twill

Fragment with rosette and part of an eight pointed star.
Designs for Flowers: Spanish Jasmin and Yellow Semidouble
Pierre Ranson, French, 1736–1786, 1778
Etching on laid paper
Print

Designs for flowers with their leaves, numbered with a legend below: Spanish Jasmin and Yellow Semidouble. The plate is numbered.
La Lune de Miel
George Montbard, French, 1841 - 1905, 1870
Etching in black ink on mulberry paper
Print

A winged female figure floating in air with three putti and butterflies. Behind her, the moon, below, the sea. Inscribed, lower right: "G. Montbard".
Three Sketches of a Soldier Firing Rifle
Winslow Homer, American, 1836–1910, 1862
Graphite on cream wove paper, laid down
Drawing

Vertical view containing three horizontal sketches of a soldier firing a rifle.
LE SCULPTEUR
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate from a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an artist's studio setting, a figure of a monkey in gentleman's costume using a hammer and chisel to sculpt a portrait bust of a female monkey. At right, another monkey assists. Sculptor's tools, vase, pitcher, and bowl in foreground.
Basket
, ca. 1770
Pierced and glazed earthenware (creamware)

A white earthenware basket with woven handles. Mold marks visible, and marks of supports in kiln.
Two Roundels with Victories in Chariots; River Victory
Felice Giani, Italian, 1758–1823, 1798–1800
Pen and brown ink over traces of graphite on light blue paper
Drawing

Chariot of Victory, who holds reed, is directed toward right in swampy county. Chariot of Victory holding quadrant directed toward left. Nostral column shown in background.
Ornamented Gueridon Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two ornamented gueridon designs. The table at the left is adorned with bas-relief panels, vases, classicizing figures, scrolls, sphinxes, busts, acanthus leaves, laurel leaves, and a portrait cameo surrounded by leaves. The table at the right is elevated on scroll feet and features masks, shells, anguipèdes, Minerva, masks, and bas-reliefs. The plate is signed.
Arabesque Design
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Etching on cream laid paper
Print

Arabesque design divided in two registers. The lower section depicts a plinth with a relief of a sacrifice with vases on either side and a mascaron in front of crossed cornucopia above. The upper register represents two draped women leaning against a tapered column supporting a large two-handled lidded vase.
Two candelsticks
Giuseppe Barberi, Italian, 1746–1809, ca. 1780–1785
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

At left: below is a plant. From a row of dolphins with upright tails springs the head of a horse, upon which a putto kneels, supporting a stem from which four leaves spring, each supporting a burning candle. At right: below is a round base. The head, the neck, and the fore-hoofs of a horse emerge from water. From the head springs a stem similar to the left one yet apparently with six branches. A flying putto leans his left hand against the stem and holds in his right hand what seems to be the reins. Colored background.
Three Escutcheons with Alternative Suggestions
Francesco Vaccaro, Italian, 1636 - 1675, ca. 1670
Black chalk, pen and ink, bistre wash, oxidized white heightening on paper
Drawing

At top, a child's head is in the top center of the escutcheon, which stands in front of a panel with an ovolo on top. Volutes of two alternative designs flank the entablature. At center, the left and the right halves show different, alternative designs. A foliated mask is in the top center. A putto stands at right. The escutcheon stands in a frame with a laurel molding. At bttom, a scrollwork escutcheon of two alternative designs. A lion-man mask is on top.
Title Page
Thobie Tourneur, Le Thuraine, French, active ca. 1630 – ca. 1690, 1660
Engraving on laid paper
Print

Title page with the title lettered in the center of a plaque within a plinth or architectural frame, above a festoon of fruit hanging between two scrolls forming a tympanum. With a brick wall behind. Two figures seated on either side. Figure to the left is wearing classical armor and the female figure to the right is holding a horn and an arrow, with a crescent moon on her head, most likely representing the Greek goddess of the Moon Selene/Luna.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on laid paper
Print

Vertical rectangle showing a symmetrical design on the theme of the hunt. Two board's heads hang from a vertical spear. Below, a hunting horn and two stag heads.
Trimming
, 18th century
silk Technique: uncut velvet weave

Castles set between a large X and an ornament formed by line nebulae, purple and yellow on white ground, with borders of alternating red and yellow bands.
Vase with Flowers
Pierre Ranson, French, 1736–1786, late 18th century
Etching and engraving on laid paper
Print

Design for a two-handled vase with flowers on a support or bracket. The vase is decorated with gadrooning and scrolling leaves (rinceaux). A festoon of leaves hangs from the vase and wraps around the support.
Button
, 19th century
Pewter

1931-59-94: Convex button showing shield with heraldic devices...
Design for a Reliquary
Francesco Solimena, Italian, 1657–1747, 1675–1700
Brush and blue wash, pen and brown ink, black chalk on paper
Drawing

An angel, standing on a base, carries in his raised hands a capital, upon which an escutcheon stands.  It is crowned by a cross and surrounded by flower sprays as shown in the left side.
Two Ornamental Trophy Designs
Jacques Dumont, French, 1701 – 1781, 1729–61
Etching and engraving on paper
Print

Two designs for hanging ornamental trophies (side by side) with arms and armor featuring swords, shields, axes, anchor, section of a ship, quiver of arrows, feathers, shield with crescent moons, spears, and ribbons. The plate is numbered and signed.
Design for Brooch
, 1820–30
Pen and ink, brush and sepia on paper
Drawing

An oblong diamond framed by palmettes.
LA MAISON DE VAUX LE VICOMTE
Adam Perelle, French, 1638 – 1695, 1671–1703
Etching on laid paper
Print

View of the garden façade of the Chateau Vaux Le Vicomte with its formal parterre planting and fountains in the foreground; grounds filled with figures and gardeners. The plate is signed and titled with a description.
Project for the Decoration of an Oblong Panel
Etienne de Lavallée-Poussin, French, 1735–1802, ca. 1780
Brush and watercolor over graphite on white laid paper
Drawing

Two rinceaux are connected by two snakes and a leaf.  The latter forms, together with a calix, the support of a round table top, upon which a bowl stands on three tall legs.  Smoke emerges from the bowl. Two cornucopias are placed in the ring connecting the legs. Stems in heart form spring from them. Above, two birds sit upon festoons.
Fragment
, 19th century
silk, metallic thread Technique: compound weave with supplementary weft

White horizontally ribbed ground with self-figure of delicate serpentine stems with minute leaves and blossoms. Over these serpentines are roses, clovers, and thistles and various leaves brocaded in brilliant polychrome silks and flat gold strips. Both selvedges present.
Sunset over East Hampton, New York
Frederic Edwin Church, American, 1826–1900, probably July 1858
Graphite on off-white wove paper
Drawing

Landscape sketch showing a view of the sunset sky over East Hampton, New York. A view of the horizon stretches across the composition at center, with a line of nearby treetops possibly comprising the lowest layer of this compressed view. Beyond this line, a long bank of puffy and billowing clouds stretches extends across the entire horizon, with a prominent peak at center. Above, sporadic wispy clouds hang in an otherwise open sky.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
cotton Technique: plain weave

Ivory-colored sheer organdy fabric.
Textile
Favre Petitpierre, France, 1802–1818, 1800–1825
cotton Technique: printed by engraved roller on plain weave

Slightly more than one repeat of two country scenes: dancing on the banks of a mill pond and a casstle next to a lake with fishermen, swimmers and boaters. Color: purple.
Textile
, late 17th or early 18th century
silk, metallic thread Technique: 8-harness satin patterned by floats of foundation weft and discontinuous supplementary weft bound on the front in 1/3 twill

Straight repeat which includes garden pavilions,  a chariot, a man wearing a plumed turban rowing a gondola. The motifs are tied together by plant forms and a large fern-like leaf or plume.
Mourning Picture, 1815
Unknown, American, 19th century
Graphite, brush and watercolor, brush and oil paint, pen and ink on wove paper
Drawing

Circle. | Framed.
Textile
, 10th–12th century
linen, silk Technique: tapestry weave, plain weave

Small towel or cover in undyed plain weave linen with a narrow tapestry weave band in blue and ivory at each end, and a floral band in blue, yellow and ivory at center. Eccentric wefts, slits. Warp fringes at both ends. One quarter at corner is missing.
Handkerchief
, late 19th century
linen Technique: bobbin lace, Brussels style

Handkerchief edged on all sides with wide border and royal initials in center.
Pleated fan
Raphael, Italian, 1483–1520, 1870–1879
Painted parchment leaf; molded and carved celluloid sticks

Folding fan with plain celluloid sticks in imitation of ivory. Guards carved with rococo designs. Parchment leaf painted in gouache with a large group of classical figures including Apollo and the Muses. After The Parnassus, the Stanze by Raphael, in the Palace of the Vatican.
La liberte Americain
Jean-Baptiste Huët, French, 1745–1811, 1783–89
cotton Technique: printed by engraved plate on plain weave foundation.
Textile

Two rural scenes in vertical alignment separated by swags with monkeys and animals with two circular medallions showing Minerva (France) protecting the infant Hercules (America) form an attacking leopard (England) in one and the head of a revolutionary. In red on white.
La Fete de la Federation (The Festival of the Federation)
Jean-Baptiste Huet, French, 1745 – 1811, 1790–91
cotton Technique: printed by engraved plate on plain weave
Textile

Length of printed cotton with scenes printed in red on white. In one scene, Louis XVI is shown taking the oath of loyalty at the Altar of Liberty while Marie Antoinette and the Dauphin pledge allegiance; Lafayette is in the background. In another scene people are dancing on the ruins of the Bastille. The fabric was designed after the fall of the Bastille (July 14, 1789) but before the beheading of Louis XVI (January 21, 1793) and is regarded as an attempt by Oberkampf to remain on good terms with both the Royalists and the Revolutionaries.
Panel
, 19th century
cotton Technique: deflected element work

White panel embroidered in a small allover design of lacy festoons and small flowers. The lacy festoons have drawn centers.