biglam/cooper-hewitt-alt-text huggingface dataset:
Melencolia I
Albrecht Dürer, German, 1471–1528, 1514
Engraving on off-white laid paper
Print

The winged figure of a woman, dressed in a long robe, is seated at right; she rests her head on her left hand and holds a compass in her right. A winged genius is seated beside her, writing on a tablet. Behind them is a square tower that displays a scale, an hourglass, a bell and a magic square. The foreground is littered with various instruments related to carpentry and construction: a saw, a plane, a hammer and nails and lengths of wood. At left, a dog sleeps curled between a sphere and a polyhedron. In the distance, in front of a sunset and rainbow over the sea, a bat flies, the word "Melencolia I" engraved across its outstreched wings. Monogram of Dürer and date 1541, lower right.
Coupes du Billard
Pierre Claude Delagardette, French, 1745 - 1792, 1775-1788
Etching on off-white laid paper
Print

Cross section and joinery details of the billiard table. The plate is signed and numbered.
Two brooches
Matthias Zündt, German, 1498 - 1572, 1555
Engraving on paper
Print

A bust with fantastical headgear is shown in the center of ovoidal medallion in the design, at left, a girl's mask in an escutcheon, in the right one. A bunch of fruit suspended from a brachet, top part of the interval
Diverses Pieces de Menus Ouvrages de Serrurerie
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for keyholes, hinges, and small metal brackets. The plate is signed and numbered.
Papal escutcheon
Giuseppe Barberi, Italian, 1746–1809, 1780–1800
Pen and brown ink, brush and brown wash off-white laid paper
Drawing

Supported by two winged female genii, the right one having a trumpet in her left arm. In front of a niche which is supported by a base. The background is colored.
Llama near Chimborazo, San Juan, Ecuador
Frederic Edwin Church, American, 1826–1900, September 1853
Oil and graphite on brown wove paper
Drawing

Figure sketch of a llama in the small town of San Juan, Ecuador. Cloaked in shaggy, light brown fur, the llama stands in almost perfect left profile while its shadow is minimally rendered below it.
Ier CAHIER DE CHIFFRES Inventés par Ranson
Pierre Ranson, French, 1736–1786, ca. 1780
Album

Album with two series of decorative monogram designs incorporating flowers, foliate branches, leaves, berries, and ribbons. The letters are topped with crowns. The plates are numbered, signed, and hand colored. Modern Binding, hand marbled boards with parchment corners on boards, leather spine. Red leather lettering piece with ‘Ranson / Cahier / De / Chiffres' lettered in gold.
Mantle
, 16th–17th century
warp: cotton; weft: silk, metallic (silver strips wrapped around linen core) Technique: plain weave with discontinuous wefts (tapestry), interlocked Label: Silk, metallic thread tapestry

Mantle decorated with series of broad and narrow horizontal bands in reds, pale tan, cream, pale yellow, blues, silver.  A broad band across the middle is made up of ten narrow bands, with adjacent rectangles containing Inca geometric patterns and some adapted Tiahuanaco eye forms, separated throughout and edged top and bottom with variety of guard stripes.  Above and below this broad central band are slightly narrower pink bands, edged top and bottom with small stepped scallops and filled with close-set mermaids and bird, fish, animal and floral motives, seemingly scattered, but actually set symmetrically on either side of two central vases set one above the other in each band and filled with flowers and fruit. Two narrow bands with attendant varied guard stripes border the mantle at top and bottom; the inner red band is similar to the bands in the center of the mantle; the outer cream-grounded band contains a series of bird, fish, and floral motives symmetrically spaced on either side of the central axis of the mantle; pink guard stripes terminate the mantle at top and bottom.
Sidewall
, ca. 1830
Block-printed on handmade paper

Design consists of a single circular medallion or rosette containing a five petalled flower in off-white with a green center. This center motif is enclosed with a similar flower with green centers but in a smaller scale. There are fourteen flowers in this outer band which in turn has a tiny heart and dot border in putty color.
Design for a Trophy and a Foliate Scroll
D. Antoine Pierretz, French, active 1647, 1648
Etching on laid paper
Print

Design for a trophy of arms and armor featuring shields, helmet, spears, and arrows with a large foliate frieze below with scrolling leaves, acanthus leaves and a bird. The plate is numbered.
Ornamenti o Grottesche (Grotesque Ornament)
Stefano della Bella, Italian, 1610–1664, ca. 1653
Etching on laid paper
Print

Vertical rectangle showing an emaciated winged figure playing a drum. Below, an owl with a bell in its beak perches on an arabesque.
Scrolling Foliate Ornament Design
Jacques Juillet, French, 1739- after 1784, 1777
Etching on laid paper
Print

A scrolling foliate ornament design featuring floral, fleurons, and scrolling leaf (rinceaux) motifs. The plate is numbered and signed.
Fragments
, 15th century
silk Technique: 4&1 satin patterned by plain weave (lampas)

Irregularly shaped fragment of woven silk. Large, curving leaves form an inverted heart-shaped framework resolving in a center stem surmounted by a cone. Confronted rampant crowned lions flank the center stem. In red, yellow and white on a deep green satin ground.
Title Page
Jean-Louis Prieur the Younger, French, 1759 – 1795, late 18th century
Etching and engraving on white laid paper
Bound print

Sheet of vertical arabesque design featuring ancient-inspired ornament motifs including putti, garland, swans, mascaron, medallions, rinceaux, and rams. The plate is signed.
Design for a Ceiling Painting on Theme of Olympus
Antonio Manno, Italian, 1752 - 1831, 1780–90
Brush and black and gray gouche, pen and black ink, black chalk, white gouache on paper
Drawing

Inscribed in a square. Upper center, the seated Diana converses with Jupiter; Apollo stands between the two.  Lower center, the flyng Hermes puts his right hand on the left leg of the seated Venus.  A putto carriesthe broken bow of Cupid away.
Fragment
, 17th century
linen, silver thread Technique: embroidery on plain weave

Rinceau pattern in silver on white ground. Edging of bobbin lace using silver thread.
View of a Farm
Carlo Marchionni, Italian, 1702–1786, 1750–1770
Pen and ink on paper
Drawing

Group of trees at right, in the foreground. The farm in the middle ground.
View of the Alps near Berchtesgaden, Bavaria (Germany), Part One
Frederic Edwin Church, American, 1826–1900, June 26, 1868
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of the alps and rolling, wooded terrain around Berchtesgaden in Bavaria (present-day Germany). This description refers to the entire view, comprising two leaves with 1917-4-956-b. Viewed from an elevated perspective, the scene includes several buildings and groves of trees in the foreground, particularly a church with a steeple at left and a shrine nearby at lower right. In the middle distance at center, a small, rounded hill is shown covered in trees. A group of buildings are situated just beyond it at right. At right, the foremost pointed and heavily wooded mountain is known as Grünstein, while the twin pinnacle peaks of the Watzmann tower behind it, partially covered in snow. Moving left along the rugged horizon, the Schönfeldspitze is visible in the extreme distance at center, while the Jenner's pyramidal peak rises at left, around several other craggy mountains.
Design for a Three-Tiered Sweetmeat and Stand
Joseph Anton Seethaler II, German, 1799–1868, 1827-1835
Pen and black and brown ink, brush and gray wash, slight traces of graphite on cream wove paper
Drawing

The stand is designed with a mixture of Empire and Romanesque styles. Some moldings are alternatively suggested with and without palmette decorations. Columns form the central acanthus rinceaux as tails. A kind of pine cone atops the stand.
Bandbox
, 1830–40
Block-printed paper on pasteboard support

Floral patterned wallpaper with architectural molding of beading.
Fragments
, 17th century
silk Technique: cut and uncut, voided supplementary warp pile (ciselé velvet) in a satin weave foundation

Four pieces cut from a larger cloth showing isolated polychrome flowers in an urn on a white ground.
Lock
, ca. 1725
cast and gilt bronze

Keyhole in center of long side.  Above the keyhole, on a cushion, a rod with the Hand of Justice, and a rod with the fleur-de-Lis, crossed through a Crown of Thorns.  Winged heads of cherubin to right and left of keyhole, terminating in foliage scrolls.
Galerie métallique des grands hommes français (Great Men of France)
André Galle, France, 1761 - 1844, 1819
Cast bronze
Medal

Bust of René Descartes (1596 -1650).
Lower end of staircase railing
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Below is a vase. From the calyx at left emerges a scroll, with the spiral below, at right. A grape of beads is beside it, a blossom in it. Colored background.
Seated Soldier
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Vertical view of a soldier seated, seen from the rear.
The Elevation of a Niche with Statue of a Man
Filippo Marchionni, Italian, 1732–1805, 1750–60
Graphite, brush and gray wash on paper
Drawing

The aedicule frame is supported by two brackets, between and beneath which the upper part of a cruciform. A molded frame is shown. One angel sits, another kneels upon the triangular pediment. Scale at the bottom.
Niagara Falls and Terrapin Tower in Snow, New York
Frederic Edwin Church, American, 1826–1900, March 1856
Oil and graphite on canvas
Drawing

Landscape sketch showing a view of Terrapin Tower and the Horseshoe Falls portion of Niagara Falls from Goat Island, New York. In the foreground, the nearby snowy riverbank is shown with a wooden walkway with handrails that traverses a nearby rivulet to Terrapin Point, where Terrapin Tower stands on the very edge of Horseshoe Falls. An observation platform is visible at the top of the tower, which is covered in ice and snow. From Terrapin Point, the Falls curve to the left through the middle distance and into the background, where the Canadian Bank of the Niagara River is visible--wooded and snow-covered. At right, a towering plume of mist rises from the base of the Falls and catches the pink light of the setting sun, which streams in from the west. Above, a largely overcast sky is brightly illuminated at right.
Designs for Three Chairs and a Screen
Richard de Lalonde, French, active 1780–96, 1849–66
Etching on paper
Print

Three designs for upholstered chairs and a screen with carved frames featuring scrolling leaves, fluting, mascarons (masks), feathers, repeat pattern moldings, rosettes, gadrooning, and dolphins. The plate is signed with the printmaker, publisher, and original designer / date, and numbered.
Title Page
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Title page with the title, designer and address titled within a neo-classical ornamental rectangular frame, decorated with hanging garlands of flowers from a central vase in the upper frame. On each side, brackets ornamented with scale patterns, s-scrolls, and laurel leaf garlands, each supporting an egg-shaped handled vase and a lion. Along the lower side of the frame, in the center a trophy of ‘objets de vertu', snuffboxes, etuis, vases, flowers, palm leaves on clouds. The plate is signed and dated.
Gold and steel watch chain
, 19th century
Gold, cut steel
Chatelaine

From a swivel hook hang two link-chains which are attached to an octagonal gold plate from which hang four ornaments (two tassels, a watch key and a case containing a hook).  The links are formed of oval bands of gold surrounfing steel beads.  The plate and ornaments are of gold, decorated with steel beads.
Fragment
, 17th century
metal wrapped on silk thread Technique: bobbin lace

Fragment has a design of crossing lines with solidly worked lozenges and two scalloped edges in gold and silver color thread.
Design for a Woven Fabric, Fragment
, 1840–1870
Brush and white gouache on oily tracing paper
Drawing

A bird, holding with its bill and foot a bough, is shown in the interval between two tall boughs of a bunch of flowers.
Decorative door boss and nail
, 16th–17th century
Decorative door boss and nail

Square type, pierced and embossed with wrought lines. Quadrant leaf design based on old examples; leaves separated by drop-shaped wrought markings. Nail with faceted square head on a square shank.
Sidewall
, 1870–75
Machine-printed on machine-made paper

A flower in two shades of pink touched with natural colored powdered mica. Pin pointed scrolls in gold-powdered mica interspersed over surface. This paper was the fifth layer from the top of six layers found on walls in the old Jacob Ruf farmhouse, Kaaterskill Junction, New York.
Studies of French Soldiers
Victor Vincent Adam, French, 1801 – 1866, 1828–1830
Pen and ink with watercolor on paper, pasted on original mount
Drawing

A: Strip of ten standing soldiers with their types shown below; B: strip of nine Zouaves; C: a single Zouave; D: ten "Chasseurs d'Orléans." Pasted on original mount.
Design for ink stand
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red watercolor, black, graphite, on cream laid paper
Drawing

Oval base decorated with band of overlapping acanthus leaves, applied leaf design above, holds ink pot with open lid, the front showing a mask with protruding tongue. Pen holders, in shape of a horn, flank the pot.
Design for an altar
Giuseppe Barberi, Italian, 1746–1809, 1746-1809
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

A sketch for the right part of a similar design as -1360. Its lower part has been drawn over with a sketch, showing two attempts to place the tabernacle into the lower  part of the altar ledges into which the former dado and steps are transformed.
Design for a Painted Ceiling
, 1820–40
Brush and gouache, watercolor on paper
Drawing

One half of the design is shown. A rosette in a laurel wreath decorates the central oblong panel. Squares are shown in the corners and in the centers of the sides; they are connected by oblongs.
Design for Bedroom Ceiling Decoration
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper
Drawing

Design for Bedroom Ceiling Decoration.
Two Designs for Chairs
Jean-Charles Delafosse, French, 1734 – 1789, 1849–66
Etching on paper
Print

Two designs for upholstered armchairs with ornately carved frames featuring flowers, laurel leaf molding, ribbons, fluting, and scrolling leaves. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Suite du Jardin St. James
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating garden baths set within artificial rockwork with an elevation of the canal facing façade and two sectional views below, featuring a domed coffered ceiling with rosettes, and fountains. The plate is titled, signed, and numbered.
Decoration of Facade of Building Dedicated to Music
Felice Giani, Italian, 1758–1823, 1800–1825
Pen and ink over traces of graphite on laid paper
Drawing

Elevation of three-story building, eight windows in ground and top floors, six windows and two doors in second story. Ground floor: six statues upon pedestals between windows. Lower two floors: decorations of tops of window cases. Second floor: trophy with lyre, railings before door. Top floor: busts in niches between windows of top floor.
Fragment
, 17th–18th century
silk, linen Technique: warp-faced plain weave with supplementary warp forming float patterning

Vertical stripes of varying width. Broad band of deep yellow at one side.
A Street in Vitri, Bretagne
Eugène Edouard Soulès, French, 1811–1876, 1840–1860
Graphite on brown paper, mounted
Drawing

Stately mansions. Written with pencil, above center: "27" and "Vitri" below at right.
Designs for a Mantelpieces
Gilles-Marie Oppenord, French, 1672–1742, 1720
Pen and black ink, pale green wash, over black chalk
Drawing

Three left halves of a mantelpiece. At left, "pr. Cabinet" includes a pair of snakes before a winged escutcheon top center, an eagle, top left. A candle in the wall panel. Center, "Second Cabinet" includes a sunface top center. Candle bracket with two candles supported by two snakes and scientific symbols adorn the wall panel. At right, "Salle Jud'enne" includes a pilaster with a bust of a woman with a diadem and a shawl.
Decoration de la Salle de Spectacle
Charles-Nicolas Cochin the younger, French, 1715–1790, 1745
Engraving on paper
Print

Decorations of the Salle de Spectacle of the Grande Ecurie at Versailles for a Festival Honoring the Fist Marriage of the Dauphin, February 24, 1745. The chamber is fitted with a stage at one end; filled with spectators watching a performance. Below, a six line explanatory inscription, and engraver's name; also indication that the decorations were devised by Slotz and Perot.
Trimming
, 19th century
silk Technique: woven

Green trimming fragment in a checkerboard design.
Plan pour un Bâtiment de l'ordre Composite
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Plan of a building designed in the Composite order and featuring a large central court. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters) at the bottom of the page. The plate is signed and numbered.
Leo, Lunette for Ceiling, Sala Ottagonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brush and light brown wash, graphite on white laid paper
Drawing

Winged putto riding a lion within a demilune. 
Verso: Pen and brown ink. Trapezoid cut by arc.
Plan des Caves d'une Maison de Campagne
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Plan of the cellars of a country house. The plate is signed and numbered.
LE CHASTEAU DE CHAVILLE
Adam Perelle, French, 1638 – 1695, 1677–1703
Etching on laid paper
Print

View of the courtyard façade of Chateau of Chaville with courtyard, moat, buildings, and gates in the foreground. Figures, horseman, and horse drawn carriages throughout the grounds and in the foreground. Garden buildings and trees in the background. The plate is titled with a description below
Trimming
, early 19th century
White and colored silk in uncut voided velvet weave.

Crowned shield showing a lion rampant, red, yellow, and black; alternating with an ornament composed of interlacing band in blue with dots in red and yellow.
Man
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Profile sketch of a male figure standing wearing a tailcoat, vest, trousers, and hat.
Design for a Bed
, late 17th century
Pen and brown ink, brush and brown wash, traces of graphite on off-white laid paper
Drawing

Elevation of a bed composed of scrolling acanthus leaves, shells and fantastic female figures. Large overhanging canopy, and inclined footboard.
Alcove à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a bed placed within an alcove. The curtains are striped, and the bedding and wallcoverings are decorated with rosettes. The plate is signed.
Designs After Architecture
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments, including an altar, doorway, facades, rondels, and capitals. Both plates are numbered, neither are signed.
Bow with ribbons
, ca. 1875
silk (?) Technique: satin weave

White satin bow with two long pieces of broad figured white satin ribbon with fringed ends. Possibly part of a dress trimming.
Trimming
, 19th century
silk Technique: woven

Green and yellow trimming fragment in a design of green discs set between a border of dashed lines.
Mount Washington from Road by Jefferson, New Hampshire
Daniel Huntington, American, 1816–1906, September 26, 1855
Graphite on pale green paper
Drawing

Fence and pasture in foreground, surrounded by trees. Valley toward right and mountain beyond, center and right.
Studies for a religious representation
Filippo Marchionni, Italian, 1732–1805, 1725–40
Charcoal, brush and wash, white heightening on paper
Drawing

At left are three cherubim; at right the bust of a young woman, possibly representing the Virgin, in the lower right corner is the head of another seen in profile. Below at left is a lying boy, seen from the back.
Fan leaf
, early 19th century
Paper leaf with hand-colored etching, sequins

Unmounted pleated fan leaf, with a hand-colored etching on paper showing a personification of America being carried on a litter swagged with red cloth, flanked by palm trees, scattered sequins.
Oeuvre de Saint Eustache
Nicolas-Jean-Baptiste Poilly, de, French, 1707 – 1780, mid- 18th century
Etching and engraving on laid paper
Print

Elevation from the interior of the church of Saint Eustache, with a plan below. An arch topped with a female figure and putti, with a hanging roundel cartouche.  The arch is decorated with a diaper pattern, and central cartouche with the French coat of arms. The arch is supported by fluted columns, with panelling on either side, decorated with rocaille motifs, cartouches, and trophies. The plate is numbered and signed.
Stage Design, Interior of Basement of Palace
Angelo Toselli, ca. 1765? – 1826, early 19th century
Pen and sepia ink, brush and wash on paper
Drawing

Horizontal rectangle. Huge substructure in basement of palace building.
Designs for Mechanical Furniture: Bidet and Reading Washstand
, ca. 1805
Pen and black ink, brush and watercolor on paper
Drawing

A bidet is seen in isometric projection and in elevation. Below, a washstand, with drawer extended, which from the other side appears as bookcase with bookstand and reading (argon) lamp.
Figure in Oilskins at a Ship's Railing
Winslow Homer, American, 1836–1910, ca. 1895
Graphite on paper
Drawing

Vertical view of a man in a hat and oilskins standing at a ship's railing, with a block and tackle at left.
Competition Design for La Fenice, Venice: Plan of Upper Floor of the Theater
D. Cerato, Italian, 1788
Pen and black ink, brush and gray wash, watercolor, graphite on two sheets of white laid paper joined at center, laid down on blue paper with added border of blue paper
Drawing

Plan of upper floor of theatre with horseshoe shaped section at bottom of image.
Design for a door case
Filippo Marchionni, Italian, 1732–1805, ca. 1750
Graphite, pen and bistre ink, brush and gray watercolor on paper
Drawing

Pointed pediment; a shell with lateral branches; a panel with shell outline. Panel contains festoon hanging from two scrolls above; entablature is right above the door frame. The bodies of the pillars supporting the entablature consist of an upper part with triglyphs and a receding lower pillar strip with short hanging garlands.
Design for the Frame of the Portrait of Charles III, King of Spain
Johann Esaias Nilson, German, 1721 - 1788, 1759
Graphite, pen and black ink, brush and wash on paper
Drawing

Design for a cartouche with various rocaille elements and allegorical figures surrounding.
Design for an Altar
Leonardo Scaglia, French, active Italy, 1640 – 1650, ca. 1640–50
Pen and bistre, brush and wash on paper
Drawing

Elevation of an altar. The left half is shown. The Crucifixion is in the center of the retable. In the outside compartment is a niche with the statue of a woman. Reliefs are in the dado. Broken pediment with angels upon the cornice.