biglam/cooper-hewitt-alt-text huggingface dataset:
Ersten Ausgab seines vorhabenden Wercks
Johann August Corvinus, German, 1683–1738, 1728–31
Engraving on cream laid paper
Print

Plate 5. Designs for bedroom and elaborate bed with pine tree finials, dog face masks and drapery. On headboard an inscription on a sargaphages reads: Artemis Bene Moriendi. Unsupported canopy with putti heads at corners is topped by a winged, flaming heart
Sidewall - fragment
, 1870–90
Machine printed on machine-made paper

Aesthetic-style design, imitating textile. Many small pieces of same wallpaper design, most lined on fabric.
Six of Hearts
E. Le Tellier, French, active late 19th century, late 19th century
Lithograph on paper
Playing card

Six of Hearts playing card from a pack of transformation playing cards. Vertically, a figural scene at a horse racetrack. At left, three seated men, two of them jockeys, with red hearts forming their torsos. At right, two figures of jockeys on horseback, red hearts integrated into their torsos; the racetrack in the distance. At top, a flagpole with a flag marked with a red heart.
Indians Catching Fish with the Help of Pelicans
Jan van der Straet, called Stradanus, Flemish, 1523–1605, ca. 1596 or after
engraving on paper
Print

Horizontal rectangle. An inlet, with men standing on shore on both sides, watching the pelicans gather fish in their pouches. Each bird bears a ring about its throat to prevent it from swallowing its catch. In the foreground, right, a pelican dislodges the fish before its master. Near left center: "Ioan. Stradanus invent."; near lower right: "Carol de Mallery Sculp"; at lower right: "Phls Galle excud." Below: "ANSERIS INSTAR AUEM FOELIX..."
The Adoration of the Shepherds
, 1720–50
Pen and black ink, brush and brown and grey wash on cream laid paper
Drawing

The Holy Family is seen at the top of a steep stairway in the background. A shepherd, with sheep, kneels on the right in adoration. A seated angel, left, points towards the scene. A man lies prostrate on the steps in the center foreground, while a dog in front of him climbs the steps. An adoring child and woman stand in the right foreground. The upper corners of the picture are chamfered.
Decorative panel
Jules Desfossé, French, active 1851 - 1863, 1856–1857
Block-printed paper

Statue of an infant, standing on vine-covered pedestal with a burgundy and tan cameo in base. Putto is facing right, supporting a basket of vining flowers. Printed on white ground.
Bag
, 1750–1800
silk, metal Technique: stem, running and knot stitches using attached coils of gilt wire and gilt spangles. Trimmed with floral vine made of dyed silks bound to wire.

Woman's bag of white taffeta, embroidered in colored silks, metal thread and sequins. On one side, children playing game of "la main chaude;" on the other, woman offering grapes to a child. Faces painted. Edged with elaborate trimming of silk flowers.
Border
, 1820–75
Block-printed

Small fragment of striped paper, printed in shades of green, brown and pink.
The Rise of Rome: Female Head Facing Left, Cleopatra
Gustav Jensen, Danish, 1898 – 1954, 1930–32
China crayon
Drawing

The present design incorporates features associated with portrayals of Cleopatra in Egyptian art: a curved asp sits on the forehead; the headdress, comprised of three layers, is rounded at the back of the head, has vertical extensions beginning underneath the ear and falling straight downward over the shoulder, and is topped by a large disk. The features - thin, straight nose; full mouth; rounded chin - are not, however, in the Egyptian style. The profile and left shoulder are heavily shadowed. Cleopatra, is serif-style capitals, appears on the left in the space above the shoulder and ends beneath the chin.
Inro
, ca. 1890
Carved and lacquered wood, silk (cord)

Inrō (container) in form of a turtle, with tail and feet drawn in and head partially extended. Divided into four horizontal compartments fitted into each other and lacquered black on inside. Strung on brown silk cord with turtle-shaped Ojime 1952-164-24 and Netsuke 1952-164-25.
Design for floor covering
Standish, about 1895
Watercolors on paper
Drawing

Vertical rectangle. Brown border with classical palm fronds in medallions and stylized leaf bunches at corners. Center: stylized leaves form medallion. Overall marblized pattern. One-quarter of design, only, shown
Vase
Hugh Cornwall Robertson, 1845 – 1908, 1884–88
Earthenware, oxblood

Gray-white stoneware body, thrown. Bulbous body with tapering neck; with slightly bulging area below rim; flat foot. Covered with a deep red or scarlet glaze with slight golden luster effect. Black striations through glaze. Very dark red at rim bulge. Dimpled surface allover. Interior glazed. Bottom not glazed. Glaze very thick at base.
Bedcover
, ca. 1850
cotton Technique: machine quilted

White quilted bedcover in an allover rosette design. In the center, a large circular pattern of a rayed sun. At four points around the circle are four American eagles with shields and arrows.
Sidewall - fragment
, 1840–80
Block-printed

Repeating design of Queen-Anne's lace. Printed in green and white on off-white or gray ground.
Sidewall - fragment
, 1835–45
Block-printed on machine-made paper

Tall arch flanked by stairs within smaller arches. Train and pedestrians within larger arch. Printed on satin ground. Mounted on brown paper.
Cup and Saucer
Gotha Porcelain Factory, German, established ca. 1757, early 19th century
porcelain, vitreous enamel, gold
cup and saucer

Silhouette, facing right on cup with saucer and wooden stand.
Livery trimmings
, 18th century
silk Technique: cut and uncut supplementary warp pile (velvet) in a woven foundation

Trimmings for coach or livery woven in multicolored velvet in a design designated for bishops. Green galero (hat) with tassels alternates with a heraldic shield. The initials "PN" appear between the tassels.
Erasmus
Albrecht Dürer, German, 1471–1528, 1526
Engraving on paper
Print

Erasmus is represented three-quarter length, standing, facing left. He stands before his desk, writing. Books on a ledge in foreground. In the background, left, a framed inscription (see Inscription).
Valence
, 18th–19th century
silk embroidery on linen foundation Technique: embroidered in cross stitch on plain weave

Two widths of linen sewn to a red and green striped silk ribbon, embroidered in red and green silk cross stitch. Lower width: large units of Glastra pattern in a row, set vertically, border of oblique leaves on all four sides. Upper width: in a much smaller cross stitch, a row of small pots set on their sides, bordered on four sides by small angular oblique leaves.
Ceiling paper
, 1905–1915
Machine-printed paper, liquid mica

Two different circular ornaments, one open the other more dense, separated by scolling foliate scrolls. Printed on off-white or light yellow ground.
Interior with Chinese Wallpaper
Frederick Crace, English, 1779–1859, 1802 or earlier
Pen and black ink, brush and watercolor on white wove paper, silhouetted
Drawing

Horizontal rectangle. Design for the Royal Pavilion, Brighton. The wall facing the spectator has a central mantelpiece of green and white marble surmounted by a tall mirror, which is framed by a drapery hung over a rod. To left and right are doorways over which are painted scrolls bearing Chinese characters.

Original album associated with this collection still exists.  See 1948-40-1 accessory
Sidewall - sample
, 1906–08
Machine-printed

Stylized floral stripe; cluster of four roses on vine printed on textured gold background.
Medallion Decoration
George W. Shiebler & Co., American, 1876 - 1910, 1885–95
Silver
Matchsafe

Oblong, curved corners, featuring central bust of Bacchic figure with grapevine diadem, below which is band with egg and dart motif, above, on lid, is broken edged, ruin-like element. Reverse features busts of Mars with helmut and shield, and Diana, amid various classical motifs and ruin-like element. Lid hinged on side. Striker on bottom.
Pillow cover
Sheldon Tapestry Factory, ca. 1570–73
wool, silk Technique: tapestry woven

Cushion cover representing the expulsion of the prodigal son. Predominant colors are blue, rose and tan.
Cheminée à la Moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a fireplace with an overmantel mirror. The fireplace is decorated with ornament motifs including egg and dart, acanthus leaf, floral garland, wave pattern, and fluting. The plate is signed.
Design for an Earring
, late 18th century
Pen and black ink, brush and wash on off-white paper
Drawing

Jewelry design for an earring, a disk above and three drops below. The disk is seemingly the central motif of a bunch, consisting besides it of two flower stems and four scrolls of ribbon, the whole being fastened by a rosette. Bevelled corners.
Acropolis at Corinth, Greece
Frederic Edwin Church, American, 1826–1900, April 1869
Graphite on gray-green wove paper; verso: graphite and white gouache
Drawing

Landscape sketch showing a view of the acropolis at Cornith, Greece, also known as the Acrocorinth, as seen from the sea. At center left, the rocky prominence is rounded in shape and forms the peak of a small ridge, which descends gently to the right. Foreground is indistinct, likely seawater.

Verso: Landscapes sketches showing three separate views of coastal mountains and cliffs around the Aegean Sea near Greece, as seen from the water. At left and oriented to the left, a view of a rugged, cliff-strewn coastline near Cephalonia is shown. At upper right, a rocky coastline with a mountain in the background is visible, while below, sharp mountain peaks rise from behind a ridge.
Design for a Sarcophagus
Giuseppe Barberi, Italian, 1746–1809, ca. 1780
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Shown is the left upper side of the elevation of the body with the cover. On the trapezoidal panel a classical scene with an altar is represented. The cover is decorated with drapery festoons and with entwined ribbons. Colored background.
Derrière du Premier Carrosse doré
Bernard Picart, 1673–1733, 1713
Engraving on laid paper
Print

Design of the back of the carriage, featuring a scene of an antique female figure surrounded by elements of the harvest and a lion. At the bottom is a female term with feathered dress, whose skirt is held up by two winged putti, with a lion's head in between.
Waistcoat
, 1770–80
silk Technique: chain stitch embroidery made with a tambour hook using 16 colors of silk on a silk plain weave foundation

Gentleman's collarless embroidered waistcoat with embroidery at center front and in area below pockets. Twelve buttons.
Swatch
, late 19th century
silk Technique: woven (velvet)

Wide brown and green stripes with thin black stripes are overlaid with a lighter arc pattern.
Black Point, Scarborough
Winslow Homer, American, 1836–1910, 1884
Charcoal, white chalk on gray laid paper
Drawing

Waves crash on the rocky shore, below grey skies, and pine trees are visible in the distance.
Fragment
, 18th century
silk, metallic thread Technique: embroidered

Fragment with a design of large flowers, leaves and stems embroidered in shades of red, purple, blue, and green with metallic thread on a ground of cream-colored silk woven in a horizontal chevron pattern.
Cape for an ecclesiastical figurine
, 1750–99
silk, metallic yarns Technique: embroidered

Small cape for an ecclesiatic figurine, the "Bambino" with six-pointed collar. Gold metal cloth with foundation of pinkish silk, embroidered with silver thread and silver sequins. Tiny vine and flower design. Lined with pink silk.
Design for Various Decorations including Coriolanus at the Walls of Rome
Felice Giani, Italian, 1758–1823, 1800–1850
Pen and brown ink, brush and wash over black chalk on laid paper
Drawing

Left row, above: putto blowing double flute; at right, an altar. Center: putto with wreath running into chariot with panoply. Below: putto with legionary sign beside trophy. Central row, above: Coriolanus implored by women of Rome, rising from throne at right. Center: left half of decoration is roughly sketched. In center is high shaft with bowl, Rinceaux spring from it, putti and boy are between them. Bottom: left octagon with putto blowing horn beside trophy of arms, right octagon with putto bringing wood to altar. Right row, above: hexagon with trophy and rinceaux; right row, below: putto carrying standard beside panoply.
Scrollwork Escutcheon with Representation of Summer
Pieter van der Heyden, Flemish, 1530 - 1572, ca. 1565
Engraving on paper
Print

Summer. A woman with a sheaf of grain, to whom a boy speaks. Two girls in the frame.
Pedestal of a column
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

The main frieze is fluted, with a circular medallion in the center of the sides which are connected by a band. On top the cornices of the base of the column. Usual background.
LA PARADE DE FOIRE / LA CURIOSITÉ
Jacques Bacheley, French, 1712 – 1781, mid- 18th century
etching on paper
Print

Fifth plate from a series of twelve scenes depicting children's games, framed within decorative rococo cartouches, two per plate, side-by-side. The left-hand scene shows two standing figures, one playing a trumpet and the other drumming, a ladder to their right and a monkey holding a flag to their left. The right-hand scene shows two boys looking through a box on wheels with a man standing behind.  The titles are lettered below each frame, the plate is signed and numbered.
Fragment
, 14th century
silk, metal wrapped linen Technique: compound twill weave

Alternation of large floral forms, couchant leopards, and trefoil shapes in gold on blue-purple.
Breakfast
, 1750–1775
Brush and watercolor, gold on paper, mounted on heavy paper
Print

Printed from two plates. A Chinese man, seated in a garden, takes a decanter from a tray held by a boy. Masonry with arch in the background. Two large birds. Bottom: "EL DESAYUNO" "JENTACULUM" "LE DEJEUNER". The same wide border as in 1921-22-256.
Divers Vases posé sur des Socles
Jean-François de Neufforge, Flemish, 1714 – 1791, 1763
Etching and engraving on laid paper
Print

Six designs for vases on socles decorated with neoclassical motifs and ornament featuring festoons of leaves, fluting, roundel portraits, leaves, Vitruvian scroll pattern, meander motif, figures, gadrooning, and ram's heads. The plate is titled, numbered, and signed.
Self-Portrait of Maurice-Quentin de La Tour
Georg Friedrich Schmidt, French school, 1712 - 1775, 1742
Engraving on paper
Print

Bust-length portrait of the artist, turned toward the left, looking out at the spectator. Enclosed in the architectural enframement of a window, his left arm rests on the sill, the hand pointed to the left. Inscription below, in frame: "Peint par De La Tour/et Gravé/Par son ami Schmidt/en 1742." Address in margin below.
Blue Mountain Peak, from Bloxburgh, Jamaica, Part One
Frederic Edwin Church, American, 1826–1900, August 1865
Graphite and white gouache on light green wove paper
Drawing

Landscape sketch showing the first part of a panoramic view of Blue Mountain Peak and its neighboring ridges in Jamaica. In the foreground and middle distance, two steep ridges at left and right descends toward a gully at lower center, forming a "V" in the landscape. Just beyond this vale, another ridge stretches horizontally across the composition, while the furrowed mountainside of Blue Mountain Peak rises to a rounded summit at upper center. The mountain is characterized by numerous ridges and subpeaks.
Garden Wall
, 1725–50
Pen and brown ink, brown wash, black chalk, ruled border in pen and brown on white laid paper
Drawing

Scale: in pen and brown ink, on garden path: scala di pal.
Design for a Candlestick
Luigi Righetti, Italian, 1780 - 1819, ca. 1800
Pen and ink, brush and sepia wash, watercolor, graphite on light blue paper
Drawing

Vertical rectangle. Design for a candlestick intended to be executed in gilded and green bronze and white marble. Design for a candlestick with variations similar to 1938-88-593. Base supported by two lying golden griffons. Upon a half-circular base with decorations of garlands of trophies of vessels stands a column with the statue of Apollo on top. Two arms with burning candles are springing from ram heads, below the Ionic capital. A snake is wrapped around the column. Before the column stands a tripod, between two priestesses supporting with their erected outside arms cornucopias with a burning candle in each. At the bottom, the plan of the base.
Design for Two Cartouches
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Designs for two cartouches, each containing within it landscape scenes. The cartouches are comprised of diverse elements, including mascaron, rinceaux, attributes of gardening, grapes, dragons, and flowers. The border of the lower cartouche, partly composed of trellis, is inspired by a print of Gabriel Huquier (see Egger/Berliner 1296).
View at Sea near Jamaica
Frederic Edwin Church, American, 1826–1900, April 29, 1865
Graphite on gray wove paper
Drawing

Landscape and atmosphere sketch showing a view at sea near Jamaica. Water extends from the foreground to a distant and low horizon. Above, clouds of various types stretch across the sky during what appears to be sunset.
Border
, ca. 1860
Block-printed

Laurel branches running toward left, enclosing circles in which heads, facing left, alternate with trophies. Simple beading at top and bottom. White and gray on brown field.
Chimborazo from San Miguel de Chimbo, Ecuador
Frederic Edwin Church, American, 1826–1900, June 3, 1857
Graphite, brush and white gouache on gray-green wove paper
Drawing

Landscape sketch from Ecuador showing a view of Chimborazo from the west, near the town of San Miguel de Chimbo. Sloping ridges at left and right frame a view of the volcano in the distance, which is darkened in shadow. Behind the volcano, white clouds stretch horizontally across the sky.
Arabesque Ornament Designs
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Four horizontal designs for ornamental friezes with repeating patterns featuring arabesque motifs. The designs include roundels with profile portraits, lyre's, guitars, festoons of flowers and beads, rosettes, scrolling feathers, torches, baskets of flowers, terminal figures, putti heads with wings, horns, ribbons, and birds. The plate is numbered and signed.
Hunting Scene with a Dog Attacking a Bird
Charles Dagomer, French, active 1750 – d.1766, 1755–76
Etching and engraving (crayon manner) in red ink on paper
Print

A landscape with a dog attacking a bird on the ground, another bird flies away in the distance. Foliage and trees surrounding them. The plate is signed and numbered.
Fragment
, early 19th century
cotton Technique: printed on plain weave

Fragment printed in purple on white showing a pastoral scene with two men and a woman in the foreground. One man plays a flute as the other man takes the hand of a woman kneeling on the ground. In the background, figures are dancing around a maypole.
Stage Design, Ruins Near Shore
, ca. 1780
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Ruined castle near seashore with boats.
Study of Mrs. Bingham for "The Republican Court" (Lady Washington's Reception Day)
Daniel Huntington, American, 1816–1906, 1860
Graphite, white chalk on grey wove paper
Drawing

Study of a standing woman, facing frontally with her head turned towards the left and her left hand under her right elbow.
Dog
Robert Frederick Blum, American, 1857–1903, 1877
Graphite on wove paper
Drawing

Sketch of a dog lying down.
Two Daybed Designs
Richard de Lalonde, French, active 1780–96, 1849–66
Etching on paper
Print

Designs for two upholstered daybeds with carved frames featuring ram heads, turbans, fluting, scrolling leaves, crescent moons, a winged putto, flowers, tassels, and rosettes, with tapered legs. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Urban Scene with Cleric and Supplicant Figures
Fortunato Duranti, Italian, 1787 - 1863, 1820–1850
Graphite on paper
Drawing

Urban Scene with Cleric and Supplicant Figures.
Lampe d'Eglise (Church Lamp), plate 83, from Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier)
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1695–1750
Engraving on white laid paper
Print

From bottom, C-curves climb up with two winged putti heads; rocaille elements covered with leaves and foliage lead to upper C-curve gripping capital of pilaster on right. From top, three foliated chains support a hanging lamp decorated with an empty cartouche and curled ends, followed by the lowest part of the lamp, hanging leaves and foliage.
Skewer with Eagle Head Terminal
, 19th century
silver
skewer

Tapering pointed pin or blade, cast relief terminal in the form of a palmette-embellished bar topped by an eagle's head.
Leonidas
Felice Giani, Italian, 1758–1823, 1811
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Leonidas shown standing over fallen warrior and defending himself against several attackers. Part of monument shown at right.
Stage Design, Altar in Egyptian Temple
, ca. 1825
Pen and ink, brush and wash on paper
Drawing

Above, altar in Egyptian temple with emblems of Freemasonry, sculptures, drapery, sun and moon in background. Possible decoration for Masonic temple. Below, plan view of altar.
Fragment
, 4th–5th century
Warp; S-spun linen. Wefts; S-spun linen. S-spun wools Technique: slit tapestry woven with supplementarty weft wrapping Label: Linen, wool slit tapestry with supplementary weft wrapping

Square containing nine circles holding bowls of fruit and flowers.
The Pride of Romulus: The Mocking of the Old Captain of the Veii; Two Studies after Carracci
Felice Giani, Italian, 1758–1823, 1821–22
Pen and brown ink, brush and brown wash, over black chalk on white heavy wove paper
Sketchbook folio

Upper drawing of groups of men in classical armor with city and walled temple in background. Lower drawing of figure in bloused tunic playing long pipes, pointing right. Group of figures at left includs older man with long cloak and turban, soldiers and bound figure. Part of temple visible in background.
Plan du rez de chaussee de l’Hostel de Liancourt Au faux-bourg St. Germain à la rue de Seine
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural floor plan of the Parisian hôtel particulier (grand house), the Hotel de Liancourt. The floor plan includes part of the garden and interiors with a scale below. The plate is titled and signed.
Interior, Temple of Phaena at Al-Masmiyah, Syria
Frederic Edwin Church, American, 1826–1900, April 28, 1868
Graphite and white gouache on green wove paper
drawing

Architectural study showing the interior of the ancient praetorium (temple) of Phaena, then located in Al-Masmiyah, Syria. At left and right, Corinthian columns leading down a central aisle terminating in semicircular niche crowned by an arch that is decorated with an inlaid, scalloped design. Two blocks of the arch are missing, allowing bright sun light to come through. The finely-hewn stones of the temple well rest atop the arch. At far left, a subsidiary space is shown with another set of columns.
Pair of Flower Pots (Cachepots)
Sèvres Porcelain Manufactory, French, established 1756, 1771
soft paste porcelain, vitreous enamel, brass, gold
cachepots

Cylindrical, with gilded brass strip at edge. Bleu céleste (sky blue) ground color with gilded pattern of circles. Gilded cartouches at front and back frame garden scenes with birds.
Tree in Landscape
Carlo Marchionni, Italian, 1702–1786, early 19th century
Black chalk on paper
Drawing

At right of page, a large tree in a landscape.
Design for a Ceiling Painting, Venus, Cupid, and Putti
Marc Antonio Franceschini, Italian, 1648 – 1729, 1700–29
Pen and ink, brush and black wash, charcoal on paper
Drawing

Pairs of figures seated upon clouds. Above, Venus raises an orb and embraces Cupid. Below, a pair of putti--one putto holds a bird, another raises a torch. The background is outlined as a double cross.