biglam/cooper-hewitt-alt-text huggingface dataset:
Orphrey band
, possibly 18th century
silk, linen Technique: couched cord on twill weave

Orphrey band making a division at the neck. Scrolling pattern with monogram for the Virgin Mary at the center. Blue silk weave, taffeta. Geometric pattern outlined with applied yellow silk cord.
Sketches of Schooners and a Day Beacon, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, July–September 1850
Graphite and white gouache on laminated paper
Drawing

Seascape sketch showing several views of schooners (sailboats) at sea and a day beacon off the coast of Mt. Desert Island, Maine. Along the upper margin, three sketches of the masts and sails of sailboat are visible. Just below these at upper left, four smaller sailboats are highlighted in white gouache as they are variously positioned. Roughly at center, the two masts and sails of another schooner are visible just above a sandy embankment or beach, while woods and hills are shown at right. Below this sketch, four addition sailboats are shown both frontally and obliquely. Finally, stretching across the composition at lower center, a pyramidal stone day beacon rests atop a small rocky island while surf crashes around it. This is likely the day beacon on Bunker's Ledge near the entrance to Seal Harbor on Mt. Desert Island.
Plan et Elevation du Château et Jardin de Louvois
Michel Lebouteux, French, 1648 – 17.., late 17th century
Etching on laid paper
Print

View from above of a chateau and surrounding gardens and park with parterre, trees, avenues, and fountains. There are figures in the foreground and the scene is framed by trees. The plate is titled and signed.
The Promenade
Constantin Guys, French, 1802 – 1892, ca. 1858
Brush and blue and gray wash, pen and brown ink on paper
Drawing

Vertical rectangle, bevelled corners. A couple promenading arm in arm viewed frontally. Woman dressed in a silk hoop skirt with a hip-length black velvet jacket; man in afternoon clothes, high silk hat. At right, view from the back of a male figure walking in opposite direction.
Design for a Sepulchral Monument of King Louix XVI of France
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A variation of 1938-88-1337. The walls have no entablature, and the width of the pediments is only a trifle greater than that of the doorframes. They are supported by two consoles, and have acroteria above their lower corners (These details are drawn only at the front). In the band around the column is a frieze with a row of figures. The motif on the top is similar to 1938-88-1303.
Fragment
, 18th century
linen Technique: needle lace (punto in aria)

Ribbon-like solid scrolls spring from urn and terminate in blossoms. Peacocks and other birds perch in foliage.
Altar Design
D. Antoine Pierretz, French, active 1647, 1647-55
Etching on laid paper
Print

Design for an ecclesiastical (church) altar decorated with classical motifs featuring fluted pilasters, a molded frame, trophies, incense burning finials, a cross, cartouche, and festoons of leaves. A scale below. The plate is numbered.
REPRESENTATION DU FEU D’ARTIFICE. Elevé devant l’Hotel de Ville par l’Ordre de Mrs. les Prevost des Marchands et Echevins de la Ville de Paris en rejouissance de la prise de la Ville de Tournay et de sa Citadelle les 24 May et 19 Juin 1745. Ce Feu à etée executée sous la conduite de Mr. De Beaussire, Architect du Roy et de son Academie d’Architecture, Me. General Con.eur Inspecteur des Bâtiments de la Ville.
Charles-André Tramblin, French, active mid-18th century, after 1745
Etching and engraving on laid paper
Print

A festival print illustrating an ephemeral triumphal arch made in Paris for a firework display in honor of a French military victory in 1745. The arch is in semi-ruin with a vermiculated façade, and two columns on either side. Above the arch, the royal coat of arms, flanked by two winged angels. Above the arch there is a balustrade between plinths with military trophies on either side, with a large plinth in the center, topped with a copula, with a vase finial. On the ground, there are two canons on either side of the arch with architectural fragments on the ground. Through the arch, buildings are visible. Figures and two dogs stand in the foreground, looking towards the arch. The title, description and address are lettered below.
Mountain Ridge with Clouds, Jamaica
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite on gray wove paper; verso: graphite
Drawing

Landscape sketch of billowing clouds rising above a wooded mountain ridge in Jamaica. The outline of the rugged ridge stretches across the composition, rising at right. Large, puffy clouds rise behind the ridge with other cloud types above and behind. 

Verso: Loosely rendered landscape sketch showing the view overlooking the Blue Mountains and coastline of Jamaica from the mountain hamlet of Bellevue. The outline of a ridge descends from right to left in foreground. In the middle distance, the Kingston harbor and its nearby coastline are visible. Above, hazy clouds are sketchily drawn.
Title Page
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Title page and four small ornament designs featuring a mask, festoon of fruit, foliate branches, flaming torch, bow, ribbon, a bird, lion's head, foliate scrolls, and fleurons. The plate is titled and numbered.
Design for a Carved Mirror Frame
Gilles-Marie Oppenord, French, 1672–1742, before 1742
Pen and black ink, brush and watercolors, black chalk on off-white laid paper.
Drawing

Drawings of a high looking glass, a low mirror in an escutcheon. Verso: a scale
Frame
, 1710-30
Cast and fire-gilt bronze

Frame pierced with palmette cresting and scroll-work of foliage; oval opening.
Design for a Fountain
, 1768
Pen and ink, brush and watercolor, graphite on paper
drawing

A fountain, under an architectural canopy, showing on top the royal French coat of arms and dolphins with a crown. A native with a loin cloth, a stick, a bottle, a dagger stands at left.
ART DU BRODEUR
Charles-Germain de Saint-Aubin, French, 1721–1786, 1770
Etching and engraving on laid paper
Print

The first plate from a series of ten illustrating the tools and art of embroidery. Fourteen numbered tools and twenty-six lettered tools are illustrated on a plain background within a double-lined border. Certain elements of the numbered tools are further identified by letters. The numbers and letters are referred to in the accompanying text, which is not included in this album. The plate is titled, numbered, and signed.
LE CORPS DE CHASSE
Christophe Huet, French, 1695 – 1759, 1743
Etching on laid paper
Bound print

Plate 2 of a series of 23 prints featuring monkeys acting as humans in various figural scenes. In an outdoor setting, a monkey in a hunting costume kneels, blowing into a circular French horn. A hunting dog at right peers at him as he blows into the instrument.
LE CHATEAU DE MAINTENON (Upper Plate)
Adam Perelle, French, 1638 – 1695, 1674–1703
Etching on laid paper
Print

Two plates printed one above the other. Views of the chateau of Maintenon. The upper plate illustrates the entrance to the chateau with its courtyard, gates, and moat with buildings and houses in the background. The lower plate illustrates the garden façade with formal parterre planting and water basin in the foreground. Trees on either side. Figures throughout the grounds in both views. The plates are titled.
Sketch of a cartouche
Carlo Marchionni, Italian, 1702–1786, 1760–80
Pen and sepia ink on laid paper
Drawing

Two trees being held up by two putti with a third one at the top forming an arch.
Square
, late 19th century
cotton Technique: printed

White muslin square kerchief with a looped edge. Blue border design in a pattern resembling seaweed and coral.
Détails du Billard de 11 Pieds
Pierre Claude Delagardette, French, 1745 - 1792, 1775-1788
Etching on off-white laid paper
Print

Details for the construction of an 11-foot (French feet) billiard table. The plate is signed and numbered.
Stage Design for a Hall Interior
Giuseppe Barberi, Italian, 1746–1809, early 19th century
Pen and brown ink, brush and brown wash, graphite on lined blued-white laid paper
Drawing

Hall, side walls decorated with columns, in the back a niche with sofa. Richly decorated with sculptures.
Furniture mount
, 1801–33
Gilt bronze

Roman charioteer heading right.
Title Page: Heraldic Achievement Designs
Nicolas Guérard, French, ca.1648 – 1719, late 17th–early 18th century
Etching on laid paper
Print

Title page and five designs for heraldic achievements consisting of four blank shields with female angels as supports. The heraldic achievement in the upper center has the French coat of arms in the shield, with the three fleurs-de-lys, royal crown, cross of the Saint-Esprit, and three angels as supports. The plate is titled, numbered, and signed.
Entrance
Robert Frederick Blum, American, 1857–1903, 1879
Graphite on wove paper
Drawing

Sketch of an entrance covered by an awning.
Four Men
Domenico Gargiulo, called Micco Spadaro, Italian, 1609 - 1675, 1630–1640
Pen and ink, brush and sepia on paper
Drawing

At top, two standing men. Below, two seated figures with hats.
Mars and Venus Preparing Themselves for the Nuptials of Cupid and Psyche
Johann August Nahl The Younger, German, 1752 - 1825, ca. 1781
Lead pencil, pen and dark ink, brush and gray watercolors on paper
Drawing

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Mantua. The entire picture is not shown. The gods and those busy about them are shown.
Design for a Candelabrum
Luigi Righetti, Italian, 1780 - 1819, late 18th century
Pen and ink, brush and yellow, green-brown watercolor on paper
Drawing

Vertical rectangle. Design for a candelabrum with three candles, the pedestal supported by crouching lions. Above it rises a part of the shaft of a fluted column from an acanthus calyx. A scalloped shaft is in the place of a capital. Two masks are fixed to it, each supporting with the mouth a branch of the candelabrum. Upon the shaft stands an acanthus calyx with another short piece of column. On top is a socket, with the lower part of a candle as they are on top of the branches. Below is a colored basis stripe. Framing line.
Two Staircase Balustrade Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for wrought-iron staircase balustrades featuring scrolling and geometric bands, arrows, rosettes, scrolling leaves (fleurons). The upper design newel features an atlas (telamon) with a lower body made of scrolling acanthus leaves. The lower design newel features a snake. The plate is signed and numbered.
Designs for Parts of a Coach
, 1835–40
Pen and sepia ink, graphite on paper
Drawing

Vertical rectangle. Design for parts of a coach more probably of Pope Gregory XVI (1831-1846) than Pope Pius IX (1846-1878). Above, the center and the right half of the cresting on the back. A putto supports with the right hand the tiara above a laurel wreath and with the left hand a garland. A cornucopia and rinceaux at the outside. Below at left, a part of a wheel, at right the woodwork below the driver's cart, seen from the side; above the fringes of the drapery.
Two Projects for Painted Grotesque Decorations of a Ceiling
, ca. 1590
Charcoal, pen and ink, brush and greyish-brown watercolor on laid paper.
Drawing

Horizontal rectangle. At top center are parts of outline of the framing of the central panel. Below are framing mouldings with wave motif at front. The lower corners are connect to the corners of central panel by garlan candelabra with masks at their bases. Below is the center of the rhomboidal panel, at front is a winged, armless half-figure, supporting a vase with leaves on her head. Two birds sit on spring rinceaux below. On verso: the same image as on recto but at the rhomboidal panel, there is an ovoidal medallion with a standing figure, on which lamps stand and drapery festoons hang. Birds flying beside it. Below are rinceaux with two half figures that are similar to design on recto.
A Cliff at Stowe
Daniel Huntington, American, 1816–1906, September 1864
Graphite on cream paper
Drawing

Peaks at right. Rock ledge falling. Mountains in distance, at left.
Woods in Autumn
Frederic Edwin Church, American, 1826–1900, 1870–80
Brush and oil paint on white paperboard
Drawing

Landscape sketch showing a view of woods in autumn, possibly on the grounds of the artist's estate in Hudson, New York, known as Olana. Brown, rolling terrain in the foreground features stands of trees at left and right that frame a view of a more distant hillside, also covered in trees. Tree canopies are largely green with spots of red, orange, and yellow, implying early autumn. In the background, a stark white sky is visible beneath the canopy.
Fragment
, early 19th century
silk Technique: double cloth with cut and uncut supplementary warp pile, warps resist-dyed before weaving

Double velvet weave with dark red on one side and a foliate pattern in blue, yellow, green and white ikat on a red ground.
Design for a Vase and Figure Sketches
, 1600–1650
Graphite, pen and black ink, brush and wash on paper
Drawing

At left, a vase with Greek Key handles with drop rings. Body decorated with a frieze of figures. At right, two figural sketches and a left facing bust.
The mask of a warrior
Filippo Marchionni, Italian, 1732–1805, ca. 1770
Graphite, pen and ink, brush and gray watercolor on laid paper
Drawing

Seen in profile, a helmet with leaves above and below. Intended probably for the upper half of a window case.
Textile
, 19th century
silk Technique: embroidered on taffeta

Rectangular piece of yellow taffeta embroidered in colored silks has two bouquets of flowers tied with a ribbon and two floral sprigs, each within a frame that is tied with a ribbon. Selvedge on one edge has brown and white stripes.
Design for a Vertical Rinceau for a Woven Fabric
, ca. 1840
Graphite, brush and gouache on paper
Drawing

Somewhat more than two waves of an undulated s tem with boughs with various kinds of flowers and leaves are shown. Not quite finished.
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1740
Engraving on white laid paper
Bound print

Decoration intended for execution in stuccowork, showing a quarter of a ceiling with its corner element, left, and a central rosette. Upper right (presumed central ceiling motif) a large symmetrically-decorated medallion with leaves, delicate garlands and small cartouches. Below at right angle, a putti, pinetree, mythological figures on a rock, water below. A winged putti pouring a vase of water, a corner cartouche on the diagonal axis with a bird spewing water, water plants, a mask, a boat carrying barrels, and mythological man representing wind, standing on a rock; sections are connected by dotted lines, presumably as a guide to the stucco.
Flowers
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a plant.; Detail of flower and an individual pedal.
Tree and Leaves
Frederic Edwin Church, American, 1826–1900, 1860–70
Brush and oil, graphite on tan paperboard
Drawing

Botanical sketch showing a view of a tree trunk and a branch or sapling with deep red leaves, likely in autumn. Prominently situated at center, the sapling grows upward to the left with a crown of almost burgundy leaves. Another sapling or branch is incompletely rendered at right. Just behind these, the trunk of a tree that is split into two large boughs while other foliage is loosely rendered around it.
Ruisseau de Saint Pierre
Paul Huet, French, 1803 - 1869, ca. 1860
Etching on tan paper, China paper, laid down
Print

A small stream with low waterfalls, left, winds amongst rocks overgrown with bushes.
Drapery Land on Odemma Street (Odemma-cho, Gofuku-dana) From the Series One Hundred Famous views of Edo
Ando Hiroshige, Japanese, 1797–1858, 1858
Woodblock print in colored ink on paper
Print

This feudal procession is carefully decorated in many colors. Various important objects are being held and supported by men. This festive display usually occurs around the begging of a new year.  Everyone is dressed in their most beautiful and is ready to celebrate amongst families and friends.
Designs and Plans for Chairs
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for two chairs with their seat plans; the chair on the right has winged arms. The chairs are decorated with ornament foliage motifs. The plates are signed and numbered.
Suitte des Enfants
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on off-white laid paper
Print

Left plate of a sheet with two plates printed on it. Depicts two putti in a landscape. One putto has wings and holds a torch; the other stands over a dolphin. The plate is signed and numbered.
Botanical Sketches, Maine
Frederic Edwin Church, American, 1826–1900, 1876–1881
Graphite on tan wove paper
Drawing

Botanical sketches showing five views of trees and branches in Maine. At upper left, a loosely-rendered, curving conifer tree is visible; at upper right, a tree branch is loosely sketched; at center right, two largely leafless branches intersect to form an 'X'; at lower left, a tall, symmetrical conifer tree is shown; and at lower right, a dead or leafless branch is also included.
Sidewall
York Wall Paper Company, 1895, 1890–1920
Machine-printed on paper

Delicate urns and floral swags. Printed in white and gold on blue ground.
Design for a Candelabrum
Luigi Righetti, Italian, 1780 - 1819, 1800–1815
Pen and black ink, brush and gray, brown wash, yellow watercolor, black chalk on white laid paper
Drawing

A design for a single candelabrum.  At the bottom, lions, crouching on a base, support a pavilion, on the volutes of which are seated two female figures: "Strength," at left and "Faith," at right.  At the center stands a Papal escutcheon.  On top of the dome stands a capital, supporting a sphere.  The sphere is surrounded  by a band with St. John the Evangelist, St. Paul, St. Peter, another saint with a book, and St. Mark, and is topped by clouds with the Dove and cherubim.  From the clouds rises a balustrade, in a circle of winged female figures.  The balustrade supports the bowl, form which festoons are suspended, and the socket.  
Under the base line is an inscription and scale.
Two Ornament Designs
Jean-Baptiste Huet, French, 1745 – 1811, 1776–89
Crayon manner etching on paper
Print

Two horizontal ornament designs featuring a shield with a mask (mascaron), festoon of leaves, ribbon, foliate branches, owls, lion, bats, and scrolling leaves (rinceaux). The plate is numbered.
Textile
Herman A. Elsberg, American, 1869–1938, ca. 1915
silk Technique: cut, uncut and voided supplementary warp pile in a plain weave foundation (ciselé velvet)

Purple taffeta ground with an allover design of rose sprays and Queen Anne's Lace in black and uncut velvet.
Doily
Deerfield Society of Blue and White Needlework, Deerfield, Massachusetts, USA, 1896–1926, ca. 1910
linen Technique: stem, roumanian, feather and satin stitches on a plain weave foundation

Stem with two blossoms in muted colors within a notched circle. The initial "D" appears in the center of a wheel-like shape.
Textile
, 1830–1849
cotton Technique: roller printed on plain weave

Pillar print with birds, flowers and fruit in half-drop repeat.
Vase
George E. Ohr, American, 1857–1918, 1895–1900
Glazed earthenware

Thrown thin-walled body.  Flat base, with recessed section above base; lower section conical, with globular middle section and truncated conical neck flaring out.  Glazed mottled green upper and lower sections, brown mottled glaze on globular midsection.  Interior glazed brown.
Border
, 18th–19th century
linen Technique: bobbin lace

Lace border in a provincial style has rows of square compartments containing a single leafy form. Just below is a narrow border with bell-shaped blossoms in a single row.
Textile
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1790s
cotton Technique: madder colors (reds, black) block printed, yellow and blue applied by brush on plain weave

Allover pattern of brightly colored flowers and massed fine leaf sprigs on black background.
Chef de piece
M.Buchot, 1770–90
linen warp, cotton weft Technique: block printed on plain weave

Polychrome scene of mounted rider and dog chasing a stag within a diagonal grid of ribbons and flowers. Colors are black, two reds, blue, and dull yellow.
Repeat: arranged as a half-drop repeat.
Drawing
Felice Giani, Italian, 1758–1823, About 1820
Black charcoal on heavy laid paper

Vertical rectangle. In profile, turned towards the right.
Trophy with Weapons
Romolo Achille Liverani, Italian, 1809 - 1872, 1830–1850
Black crayon, pen and dark ink, brush and gray water color on paper
Drawing

An upright cuirass in front of shields, helmets, and swords
Band
, 19th century
cotton, linen Technique: satin stitch on plain weave

Band of tangents squares filled geometrical and linear designs in black, yellow, red, light blue and white. Sawtooth guard border on one side with the same colors.
Textile
, ca. 1785
cotton Technique: printed by engraved copper plate on plain weave

Textile fragment printed in red on white showing design of lovers and children in a garden with fountains. Incomplete repeat.
Pencil box
, 1860–80
wood

Rectangular, flat box with cloth-hinged cover, covered with black paper with gold imprint. Inside, green paper divider
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with connections)

Fragment using continuous tape in a closely spaced design of flowers and foliage. Scalloped edge.
Printed Textile Design: F
Louis-Albert DuBois, Swiss, 1752–1818, ca. 1801
Pen and black ink, gouache, watercolor, over graphite, ruled border in violet gouache Support: white laid paper
Drawing

Vertical format: two panels of fanciful flowers, violet stripes to the left of each; flowers in left panel on zig-zag green branch; ruled border line in violet.
Fragment
, 17th century
linen Technique: bobbin lace (continuous tape with net added)

Fragment of lace made of continuous tape bobbin lace with Valencienne like braided ground.
Selendang (shoulder cloth)
, 19th century
silk, metallic threads Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Long silk textile, probably a shoulder cloth (selendang), in dark brown against red. Plaid ground with all-over brocading of geometric pattern with center motif on main ground. Heavy brocading in borders.
Drapery Study
Leon Dabo, American, 1868–1960, 1886–92
Charcoal on paper
Drawing

Upper part of figure (roughly sketched) with drapery over right shoulder and upper arm. Right hand is half-raised.
Cape for an ecclesiastical figurine
, 1750–1800
silk, metallic yarns Technique: plain weave with discontinuous supplementary weft (brocaded)

Cape for ecclesiastical figurine, made of a fabric that is patterned with the figure of a man in Chinese costume sitting on rocks under a tree playing a flute.
Fringe
, 16th century
silk Technique: soumak weave

Red, yellow and green fringe with a soumak heading. Skirt threads are looped and twisted to form stripes.
Fragment
, before 1500
cotton Technique: plain weave, warp stripes

Plain tabby. Narrow stripes in several shades of brown.
Drawing
Leonardo Scaglia, French, active Italy, 1640 – 1650, 1620-1630
Pen, brush, bistre, grey water color. paper

Vertical rectangle. The central part has a trefoil shape. Scrollwork frame. In the center, above, is a mediaeval helmet.
Printing block
, 19th century
wood

Carved block with small hole on plain side. Printing side has foliage and small flower in relief.
Button
, 18th–19th century
Copper, steel beads

Button of copper ornamented with cut steel ornaments; central boss set in beading and eight crescents arranged as a ring. Copper shank.
Tailpiece
Franklin Booth, American, 1874–1948, ca. 1910
Black ink on paper
Drawing

A symmetrical design composed of interlacing stems and flowers. Shown against a black-and-white background.
Fragment
, ca. 1870
silk Technique: machine-made net with embroidery

Chantilly-style edging with a small, conventionalized design of berries and leaves.