biglam/cooper-hewitt-alt-text huggingface dataset:
LE TAMBOURI
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 outdoor environment, a figure of a monkey in gentleman's costume wearing feathered hat plays the tambor, an elongated snare drum. While drumming, he also plays a simple flute. Indications of a town in the background.
Design for a Chimneypiece
, 1780–1800
Graphite, pen and ink, brush and watercolor on paper
Drawing

The fireplace is framed by the upper part of a molded frame standing upon a base; its frieze shows a band of palmettes and buds. Laterally and rededing are pilaster strips. They have above volutes and masks, the foliated one of a man at left, a female one with a vine wreath and above a striped garland, at right. Above an entablature is shown with two alternating suggestions for its form and ornamentation. The oblong between the inner frame and the entablature is filled by a relief. Children are in two boats with a Naiade swimming in between. A child in the left boar shoots with a bow at a stag running at the shore. Two children in the right boat fish with a net. Above the entablture is a drawing of a woman reclining upon two sea horses. Base line. The plans of the lateral parts are immediately below it. The scale is in English feet, with figures added similar to those in 1938-88-8201. Cast shadow. Framing lines as in 1938-88-8200. Written at the lower edge below the left half: No 8", all of white marble. Below the right half "No 9", mask same as No 8. The frieze, Venus, on a sea horse.
Study for a seated woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite, pastel crayon, on tracing paper mounted to board
Drawing

A  female figure seated with right leg bent. Study for the drapery with the square project for the head.
Study for a Mountain Locality
Pompeo Savini, Italian, active 18th century, late 18th century
Pen and black ink, brush and gray wash on paper
Drawing

Horizontal format view of a church and a villa in the precinct of a fortified castle and a group of houses at their foot in the foreground. Verso: a part of an architectural plan.
Design for a Wallpaper
, ca. 1810
Brush and blue, green, yellow, cream, and brownish black paint on paper
Drawing

Circles composed of bead chains cross each other so to form spherical octagons staggered in alternate rows. Eight-pointed rosettes are shown in them. Black ground. One half, and two quarters of octagons are shown.
Portrait of a man
Felice Giani, Italian, 1758–1823, ca. 1820
Graphite on cream laid paper
Drawing

A man in profile wearing a cap and robe.
Sidewall
, ca. 1860
Block-printed and flocked

Rectangle. Plain paper in dull red flock.
Sketch for “The Chimpanzee and the Boa Constrictor” in “Fables, Out of This World”
Frederick Stuart Church, American, 1842–1924, ca. 1877
Graphite on paper
Ephemera

Left, tree with large snake wrapped around the trunk of the tree, head at the bottom of the trunk, profile facing right. Center left, tail of snake wrapped around creature, creature's back is seen; left, tail of snake wrapped around creature, creature seen from the front.
Design for a painted decoration in honor of a French general who had been governor of a crown prince
Charles-Nicolas Cochin the younger, French, 1715–1790, 1760-1790
Pen and black/red inks, graphite on laid paper
Drawing

An arched doorway flanked by pairs of columns and pedestals upon which urns stand. A chandelier is suspended from the top of the doorway. A figure holds a portrait medallion of a warrior and crowned by another figure from above.
Trimming
, 18th century
silk Technique: cut and uncut supplementary warp pile on satin ground (velvet)

Red trimming fragment in a design of crossing lines with dots.
Design for a Serving Spoon
, late 16th century
Pen and brown ink, brush and brown wash on brown laid paper
Drawing

Large spoon with handle in the shape of herm figure with twisted legs ending in leaves at connection point of handle and bowl. Figure wears a learing expression and carries a quiver on its back.
Design for a Lighthouse
A. Le Canu, French, active 1746 – 1768, 1760–75
Etching and engraving on laid paper
Print

Design for a Neoclassical lighthouse with a smooth-faced and vermiculated horizontal banded rusticated facade, a panel above the central door, garland of laurel leaves below the lower balcony level, a smaller upper balcony at the top of the tower. Figures walk up the stairs and stand on the balcony levels. Windows on the tower, which is topped with a flaming / smoking urn or vase framed by a trellised structure with a dome roof. Two shallow vases flaming, and smoking, flank the stairs leading up to the lighthouse. Clouds in the background and steps leading up to the lighthouse. A scale below the design. The plate is titled, numbered, and signed.
Mount
, early 19th century
Silver-plated brass

Vertical rectangle with irregular lower left corner. Repoussé figure of Artemis with putto.
Pour une Porte Dorique
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for a door decorated in the Doric order and with bands of lamb tongue ornament. The plate is signed and numbered.
Orfèvre Bÿoutier
J.R. Lucotte, French, 1733 – 1784, 1762
Etching and engraving on laid paper
Print

Plate with fifteen designs for silver objects including watchcases, cane handles, a sword handle, scissors, fobs, and jewelry. The objects are decorated with rococo motifs, vignettes, and the French coat of arms. Each object is numbered and lettered. The plate is titled, numbered, and signed.
The Annunciation, Study after Innocenza da Imola
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and light brown wash over black chalk on white laid paper
Sketchbook folio

Annunciation: An angel kneels at left pointing at kneeling Virgin at right. Above- God, four angels, and three putti on clouds. Scene set inroom with arched opening to landscape.
Balcons de fer ciselés
Jean Mariette, French, 1660–1742, c. 1737
Etching and engraving on paper
Print

Three designs for carved iron balconies, vertically stacked on the page. The iron work is open, and features scrolling bars and leaves. The top and bottom balcony design have a circular motif in the center; the middle balcony has stylized acanthus leaves at the center. The plate is numbered but not signed.
Sketches of Soldiers and Trees
Winslow Homer, American, 1836–1910, 1862
Graphite on wove paper, laid down
Drawing

Vertical rough sketch of soldiers and trees.
Developpement et assemblage de Charpente pour un Bâtiment à pan de bois
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for the framework of a multi-storied wooden building. The plate is signed and numbered.
Rugged Mountainside, Mexico
Frederic Edwin Church, American, 1826–1900, February 25, 1890
Graphite on gray-green wove paper
Drawing

Landscape sketch showing a view of a rugged mountainside, likely north of Mexico City, Mexico. A rocky summit is visible at left, with dark, shaded ridges running down its side at right. Behind it, the outline of another sharp mountain is partially rendered. Sketch seemingly unfinished.
After Dinner Refreshment
, 1750–1775
Brush and watercolor, gold on paper
Print

Printed from two plates. A woman and a man holding a goblet and a decanter. She holds a spear; a gun is at his feet. Two dogs, a dead bird at right. Beside a waterfall in a wood. Bottom: "ELDESPUESDE COMER" "L'APRES DINER". The same border as in 1921-22-256.
Title Page
François de Cuvilliés the younger, German, 1731 - 1777, 1770
Etching and engraving on paper
Print

Title page for a suite of fountains and monuments. A view of a landscape with sculptures, fountains, and architectural ruins with columns, vases, a sphynx, and figures with a verse in Latin lettered below. The plate is titled, signed, dated, and numbered.
Perfume Bottle and Box Design
Pierre Moreau, French, 1722 – 1798, 1771
Etching and engraving on laid paper
Print

Above a design for the top of an oval gold box or etui with a central roundel depicting birds in a landscape, surrounded by fleurons, rinceaux, rosettes, and shells. Below is a design for a pear-shaped perfume bottle with a central hanging trophy of a bow and quivers of arrows, framed by palm leaves, tied with ribbons and flowers. There is an unnumbered scale below. The plate is numbered, dated, and signed.
Rest on the Flight into Egypt
Simone Cantarini, Italian, 1612 - 1648, ca. 1640
Etching on paper
Print

The Virgin, seen seated frontally, holds the Christ Child before her. At the left, St. Joseph is seated under a tree, grasping his staff.
The Watzmann and Schönfeldspitze, near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, 1868
Oil and graphite on tan paperboard
Drawing

Landscape study showing an elevated view of the Bavarian Alps, with the Watzmann and Schönfeldspitze visible in the background. In the foreground, two converging, wooded mountainsides frame an expansive view of layered mountain ridges that extend to the horizon. Due to aerial perspective, each succeeding ridge is hazier than the last. In the distance at center, the snow-capped Watzmann is shown with the sharp, pyramidal peak of Schönfeldspitze beside it to the left.
Church
, mid-19th century
Turned, cut, and stained mahogany, cherry, pine, cut brass, wire, enamel-painted metal
Birdcage

Birdcage (a) of wooden slats, dowels and metal wire in the form of a church with peaked roof; walls of clerestory-like gothic style arches; at one end a rectangular bell tower with three large, circular, painted clock faces, and door with inverted heart-shape perforation. Wood and sheet metal under tray (b) pulls out at left side.  Small loop handle of brass on roof.
Sepulchral Chamber
Charles Percier, French, 1764–1838, ca. 1800
Pen and black ink, brush and watercolor, gouache, graphite on paper, lined
Drawing

The sheet depicts an interior of a cross-shaped space with an open skylight.  The interior is viewed through the entrance into the space.  Inside, the walls are punctured with niches occupied by urns.  Sepulchral monument with sarcophagus, which in turn supports a statue of a reclining young man holding an open book stands at the center of the room.  The monument is positioned before the rear vaulted wall.  There is a depiction of a seated saint in profile at the upper register of the wall.  There is an illegible inscription on the monument.  In front of the monument, directly below the skylight, is a circular floor fountain.
Stage Design: Staircase in Park
, 1650–1700
Pen and bistre, brush and sepia wash on paper
Drawing

Horizontal rectangle showing a tiered building decorated with sculptures and balustrades. Grand staircases connect the levels. The tops of tall trees can be seen in the background.
Three sketches
Carlo Marchionni, Italian, 1702–1786, before 1775
Pen and ink on laid paper
Drawing

Above escutcheon supported at left by a kneeling large angel, at right by a standing smaller one. Below: left, putto sitting between trophy, holding big banner; right female figure sitting beside escutcheon, a cresting.
Venus at Forge of Vulcan, Winter, Victories and Three Roundels, Putti as Elements
Felice Giani, Italian, 1758–1823, late 18th century
Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper
Drawing

Three roundels, each containing putto and with respectively eagle, Ganymede, pitcher pouring water, lit torches. On second row, at left, Venus accompanied by three companions, looks at Hephaestus forging helmet. She supports shield while other weapons beside Hephaestus. At right, young man beside lighted candelabrum. Other implements of forge illustrated. At left, victory kneeling upon bull while extending her left arm towards candelabrum.
Decorated Cartouche with a Fountain and Pyramid
Pierre Edme Babel, French, 1720–1775, 1720–1775
Engraving on paper
Print

Decorated Cartouche with a Fountain and Pyramid.
The Rat Catcher
Cornelis Visscher, Netherlandish, 1629-1658, 1655
Engraving on paper
Print

In mid-foreground an old man standing in frontal position looking to right. He is seen up to his knees. At left, a dog; at right, a boy looking to left and holding a mouse-trap on a pole. Inscribed, upper right: "C. Visscher inv. et sculp. exec 1655."
Title Page
Pietro Metastasio, Italian, 1698 – 1782, 1755
Etching on laid paper
Print

Title page for the first of ten volumes of poetry by Metastasio. The title, address and date are lettered within a rocaille ornamental border, featuring c-scrolls, shell, scale and acanthus leaf ornament, fleurons, birds, garlands of flowers, a vase with flowers, palm leaves, clouds and three winged putti.
Design for an Iron Balcony
Gabriel Bonthomme, France, active ca. 1775, 1777
Etching and engraving on paper
Print

Design for an iron balcony with decorative motifs including acanthus leaves, rosettes, lozenges, and an oval with draped laurel leaves. The plate is numbered but not signed.
Stage Design, Interior of Renaissance Portico
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Vertical rectangle. Renaissance style portico with pilasters and arches, richly decorated.
Design for a door with arched pediment
Carlo Marchionni, Italian, 1702–1786, 1746
Pen and black ink, brush and sepia, gray watercolor
Drawing

Pilasters flank open door. In lunette, a tablet. Arch contains lunette of organic pattern. Scales: "Scala Modalatoria/ Scala di Palmi dieci Romani."
Decoration du Lambris du côté de la Cheminée du Salon de Brunois
Jean Mansart de Jouy, French, 1705 - 1783, 1750–75
Etching and engraving on laid paper
Print

An architectural design print depicting an interior wall elevation for a Drawing Room in the Châteaux de Brunoy, designed by Jean Mansart de Jouy for Jean Pâris de Monmartel, marquis de Brunoy. The wall features a central chimneypiece and overmantel mirror, flanked by paneling, doors with overdoor paintings, and a cornice. The paneling (boiserie) is decorated with rococo motifs - feathers, c-scrolls, s-scrolls, fleurons, scrolling leaves, shells, floral diaper pattern, gadrooning, and flowers. The overmantel mirror is topped with a mask, a putto and arms and armor. There are wall sconces on either side of the mirror, with three candles each. And andirons in the fireplace. The plate is titled, numbered, and signed with a scale below the design.
Decanter and stopper
, 1801–50
Cut blown glass

Bottle-shaped body with slender, ringed, neck. All-over decoration of chevrons in narrow horizontal bands. Stopper is conical with the same decoration.
Sampler
Sally Brierley, American, 1828
silk embroidery on linen foundation Technique: embroidered in cross and counted satin stitches on plain weave foundation

A verse and inscription with a church below are flanked by motifs symmetrically arranged: fruit trees, roses, urns with flowering plants. Surrounded on four sides with a delicate strawberry vine border. 
The verse reads: 
Could we with Ink the Ocean fill
Were the whole earth of parchment made
Were every single stick a Quill
And every man a scribe by trade
To write the Love of GOD above
Would drain the Ocean dry
Nor could this Scroll contain the whole
Tho stretcht from sky to sky
Where the whole realm of nature mine
That were a present far too small
Love so amazing so divine
Demands my sould my life my all
Raphael's Loggia in the Vatican [Loggie di Rafaele nel Vaticano, plate IV]
Giovanni Ottaviani, ca. 1735 – 1808, 1772–77
Hand colored etching and gray ink
Print

Description from left to right; top to bottom.
Above all, a frieze of sunflowers-like circles.
First column:  Two putti holding a lyre above a cameo of a bird in a nest with putti standing on either side.  Below: a cameo of a lamb and its offspring surrounded by two nude figures sitting above axeses.  Below: a cameo with three men on horseback. Below: a cameo of a nude figure above two nude figures lying atop a pedement. Under pedement: a figure standing atop a pedestal. Below: profiles of front and rear figures. Below: Winged figure with spears sitting atop a globe.
Second column: Vine of foliage and flowers.  Below: a frieze of wavelike spirals atop a geometric decorative pattern.  
Third column: Semi circle cameo of a bird.  Below: a brown panel of two horned creatures above two winged figure emerging from foliage. Below: a cameo of a soldier. Below: a repeat of the brown panel above.  Below: cameo of a man killing a beast that is attacking his horse. End:  once again the repeat of the brown panel above.
Fourth column: Hanging bundles of fruit and foliage.
Skirt panel
, 18th century
silk, metallic Technique: embroidery on plain weave

Panel for a skirt with three symmetrical floral motifs with curving leaves tied by a bow embroidered in gold. Narrow border at bottom.
Plate
, ca. 1760
Molded and pierced salt-glazed stoneware

Round, low basket, molded to resemble weaving. Scrollwork and piercing along sides.
Sewing Book, I.E.A., N.Y.
The Industrial Education Association, 1886
embroidered linen cover, ink on paper, fabric samples, metal fasteners
Sewing instruction book

Instructions for various models with stitched samples attached to pages. Embroidered dust cover: ''Sewing Book, I.E.A., N.Y.'' embroidered in red. (ragged, stained and torn).
Pitcher
George E. Ohr, American, 1857–1918, 1895–1900
Earthenware

Pitcher or sauceboat of thin-walled, irregular form with flat circular base; sides  pinched together at one side to form handle; opposite side pinched to create trilobe spout and lip. Unglazed; fired unevenly, creating pale/dark spots over surface.
Proof for textile: The tomb of J.J.Rousseau
Oberkampf & Cie., Jouy-en-Josas, France, 1759–1815, 1780
Copper engraving in gum paste on pieced laid paper with 6 deckled edges
Print

A number of apparently unrelated scenes; the tomb of Rousseau on the center right.  Above it a house with two trees and poultry in front; next, on its left, upper row a well, a mill, and a Chinoiserie pavillion/edifice with two men in Chinese costume.  Below, left to right: rotund temple ruins with three femal figures, women hanging up laundry, tomb; below right to left: rider on a horse drinking from a fountain with putto above, sheepshearing couple to left of tree, grazing horse with goat and dog below, woman with group of three children, roof of Chinoiserie (kb)
Mise-en-carte for Textile, No. 7242
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1920
Brush and gouache, graphite on pre-printed graph paper
Drawing

Stylized floral design with birds; two crested birds, upper right.
Design for a Mass-Operational House Designed by Hector Guimard, Chimney Construction
Hector Guimard, French, 1867–1942, October 1920
Pen and black ink, graphite on tracing paper
Drawing

Design for a mass-operational house by Guimard, detailing construction of the chimney.
Light Fixture and Plan of Glass Disc for Mr. Allen's Study and Mrs. Allen's Dressing Room, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, pen and brown ink, color pencil on tracing paper
Drawing

Design for light fixture with two different views.
Le Ballon de Gonesse
Jean-Baptiste Huet, French, 1745 – 1811, 1784
cotton Technique: printed by engraved copper plate on plain weave
Textile

The design was assembled from contemporary prints depicting two separate balloon flights from Paris in 1783. One balloon landed in the village of Gonesse; frightened villagers mistook the ballon for a monster and called for an exorcism. The second flight, the first to carry human passengers (Nicolas Robert and Jacquest Charles), landed on the Nesles plain 22 miles from Paris, where it was met by a delegation of citizens. Printed in red on white cotton.
Fragments
, 18th century
silk Technique: plain compound satin weave with discontinuous supplementary weft (brocaded)

Fragment of off-white satin with floral garland alternates with a small pond with a swan ringed by cat-o-nine tails. Brocading in green, brown, tan, rose red, pink, white, black, and yellow silk, and chenille threads.
Fringe
, 16th century
silk Technique: woven

Yellow fringe with a plain-woven heading and thread skirt.
Side Chair
, ca. 1690
Walnut, silk
chair

Tall back with turned posts, fluted and reeded on front surface, which rise to turned finials.  Caned central panel framed by a system of pierced scrolls and foliations.  Elaborate shell and scroll-carved pierced cresting and front stretcher which lies behind turned, gadroon-capped front legs.  Turned side and rear stretchers and rear legs.  Upholstered in red silk velvet with red silk fringe.
Figures on the March
Daniel Nikolaus Chodowiecki, German, 1726 - 1801, ca. 1750
Engraving on paper
Print

A two wheel cart holds a mother with two children. Other figures, carts, and a pack horse are shown.
Vase
Rookwood Pottery, American, 1880 - 1967, 1902
earthenware, glaze

Ovoid body, tall slender neck with flaring lip, banded foot. On shoulder and body ochre yellow nasturnums with olive green leaves painted under brilliant glaze on dark brown ground which shades into ochre on body and interior of neck.
Panel
, ca. 1880
glass

Amber. An all-over pattern of sprigs of flowers and leaves.
Clock
, 19th century

Lyre shaped clock. ebonized wood with gilt bronze mounts; French Empire
Beheading of John the Baptist
Albrecht Altdorfer, German, ca. 1480–1538, 1512
Woodcut on off-white laid paper
Print

Courtyard of a mediaeval building. A group of persons around. The headless body of John the Baptist. Herodias holds his head on a platter.
Design for a Window for the Paulist Fathers' Church
John La Farge, American, 1835–1910, 1877–80
Graphite and watercolor on paper
Drawing

A triple-arched window (possibly for a gallery), with mosaics intended in the spandrels, of fan pattern.
Design for pendant with dolphins
, 16th century
Pen, sepia, brush, grey water color. Light grey paper
Drawing

Vertical rectangle. An oval diamond is framed by mouldings, with, on top, a shell with flowers inside. The outer frame consists below of a festoon hanging from rings fastened to a base, upon which, standing upright and crossing their tails, two dolphins support a ring.
Table mat
, late 19th century
silk embroidery on linen foundation Technique: embroidered using stem, satin, padded satin,and padded buttonhole stitches on plain weave

White linen tray or table mat of natural-colored linen, scalloped to a shape approximately oval, the edge buttonholed in white silk. multi-colored linen and silk embroidery of purple, yellow and red pansies with scrolls and dots.
Portrait of Princess Frederica, Duchess of York
Thomas Woolnooth Sr., British, 1785 - 1871, ca. 1830
Stipple engraving on paper
Print

Bust length portrait of Princess Frederica, Duchess of York (1767-1820), daughter of Frederick William II, of Prussia. She is shown seated, facing one quarter to the right. She wears a white dress with  cloak over her left shoulder and a turban. Below, inscription, artist's, engraver's, and publisher's names.
Print
Jacques Callot, French, 1592–1635, 1633–1634
etching on paper

Horizontal rectangle. At left, a cavalier faces right, one foot before him. In the center, a woman, left hand on hip, gestures to the left with her right. At right, a cavalier, seen from the back, gestures to the left. From Les Fantasies (series of 14).
Study for "Zodiac"
Francis Augustus Lathrop, American, 1849–1909, ca. 1894
Charcoal, brush and wash, graphite on paper
Drawing

Sketch of figures in loose garments within a wheel.
Sketch of a Woman's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Sketch of a woman's head, looking downward to the left.
Panel
, 19th century
silk on cotton Technique: embroidered

Heavy white cotton embroidered solidly with dark blue and rose silk. Two horizontal repeats of design showing geometric ornament perhaps derived from floral motifs.
Fragment
, 18th century
linen Technique: bobbin lace, Binche style with Binche ground

Design of curving stem with flowers and leaves.
Fragment
, 17th century
silk Technique: supplementary warp firming cut and uncut raised pile in plain weave foundation (velvet)

Diagonal branch and leaf motif in green.