biglam/cooper-hewitt-alt-text huggingface dataset:
Frame for the Title or the Dedication of a Music Book, or a Program of or an Invitation to a Concert
, ca. 1750
Etching on paper
Print

Rocailles. Four putti, disposed in an escutchon and upon the scrolls, play music. On top are a genius blowering a trumpet and other references to a prince. On verso: canopy, ornament, rough sketches in pen and ink
Lowest Ledge, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, October 1854
Graphite on paper
Drawing

High rock cliffs, upper right. Trees and boulders, below in foreground.
L’AGRICULTURE
Jacques Bacheley, French, 1712 – 1781, mid- 18th–late 18th century
etching on paper
Print

Second plate from a series of four, framed within decorative rococo cartouches, with verses lettered below. Two cows pull a plough with a boy behind; two other figures tend to the garden in the background, within a landscape with a house in the far background. The title is lettered below the cartouche, and the plate is numbered.
Garden Designs
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Two designs for ornamental gardens, with planted and potted topiary throughout. The plate is numbered, but not signed.
Ceiling Design
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Plate with variations of ornamentation and edging of a ceiling. The motifs include rosettes, dragons, lozenges, lightning bolts, cartouches, scrolls, lion heads, trophies, and various decorative molding. The plate is signed and numbered. A graphite inscription on the right side of the page indicates that this design was for the ceiling of the grand salon of the Palais royal.
Layla and Majnun
, 16th–17th century
silk, metallic threads Technique: two intercrossed plain weave structures (double cloth)
Textile

Fragment of woven silk shaped as if part of a skirt, with figures of a boy holding a deer and woman on either side of a flowering tree. Figures in cream, repeated in mirror image in alternating rows, alternating with rows of leaping gazelles, on a ribbed ground of red and silver.
Two Studies of the Artist's Son Charlie
Daniel Huntington, American, 1816–1906, 1864
Graphite, white chalk on buff wove paper
Drawing

Studies for painting of Chocorua. Two sketches of the artist's son, Charlie, sitting on the ground with a rifle. Above, he lays, facing away from the viewer, supported by his left elbow. Below, he sits facing right, his hands resting on his ankles. Verso: Two studies of the Catskill Mountains.
Plan of left wheels
Unknown, Italian, 1650–75
Pen and ink, black chalk on paper
Drawing

Elevation of the constuctive parts of the front part of a coach.  The elevation is on top, the plan below, at left.  The measurements of many parts are given.
Key Head Designs
Antoine Pierretz le jeune, French, active 1660-70, ca. 1665
Etching on laid paper
Print

Twelve designs for key bows decorated with scrolling acanthus leaves, foliate scrolls, masks, terminal figures, sphynx's, griffins, an eagle, a lyre, interlaced L's, shells, and the head of Apollo with sun rays. The plate is numbered and signed.
Design for an Oil Lamp
Giovacchino Belli, Italian, 1756 - 1822, late 18th century
Pen and black ink, brush and gray, green, blue wash, graphite on paper
Drawing

Vertical rectangle. Design for an oil-burning lamp with alternative suggestions. A young Egyptian male figure stands upon a short piece of a fluted column. He carries upon his head a bowl, containing the oil. Upon it stands a vase, to which is fastened the eye shade, which is decorated with a sun. Two lamp pokers hang at a chain, which hangs through the rings of three lion masks at the body of the bowl. The alternative suggestions refer to a more or less rich ornamentation of the bowl and the vase. Base line below.
Design for Magazine Cover
Kenyon Cox, American, 1856–1919, 1897
Graphite on paper
Drawing

Three sketches of magazine covers; Left, inscribed "McCLURES/ MAGAZINE" at top with a female figure is holding a flower in her right hand below; Center, a female figure is standing with petals falling off a branch in the background; Right, a female figure is wrapped in drapery.
Button
, 19th century
Brass, gold plated

1931-59-119: Flat button ornamented with shield and banners sho...
Grotesque Ornament with Satyrs, from a set of twenty ornament panels
Agostino Veneziano, Italian, ca. 1490 - after 1536, ca. 1530–1535
Engraving on laid paper
Print

Vertical rectangle showing a symmetrical grotesque composition of arabesques, satyrs, lions and birds. At bottom, a mask. At top, a circular architectural structure.
Studies of Heads in Profile
Pierre Thomas Le Clerc, French, ca. 1740 - ca. 1796, 1773
Crayon-manner with red ink on laid paper
Print

Studies of four heads in profile (a woman, man, child, and older bearded man) from a series of figure studies for the education of artists and amateurs, printed in red ink in the crayon manner. The plate is numbered and signed.
Tea Strainer
, 1873
gold plated, silver
strainer

The shallow-fluted, deep-circular, pierced bowl with wriggle work engraved flange border, with fiddle-form flat stem.
Rosette Designs
Richard de Lalonde, French, active 1780–96, 1785-1788
Etching on off-white laid paper
Print

Four rosette designs. The rosettes are all round; at bottom left, the rosette has swirling acanthus leaves, at bottom right, protruding acorns. The plate is signed and numbered.
Deux diferents desseins de Tables
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1745
Etching and engraving on off-white laid paper
Print

Elevations of designs for two console tables with the plans of their marble tabletops. The table frame is comprised of ornament motifs including rinceaux, claw feet, putti, and lion mascaron. The plate is signed and numbered.
Détails d’une salle de Billiard Chinois construite à Belle Ville pour Mr. Cochin, Inspecteur general des ports de Mer par Mandar, Architecte et Ing…en Chef des ponts et Chaussées
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with designs for a garden billiard pavilion built in a Chinoiserie style with two exterior elevations, one interior sectional view, and a floorplan. The plate is titled, numbered, and signed.
Trophy of Arms
Jean Le Pautre, French, 1618–1682, 1657–82
Etching on laid paper
Print

A trophy of arms with shields, quiver of arrows, spears, helmet, ewer, horns, clubs, and two seated male prisoners. The plate is numbered. The publisher's address is lettered below.
Design for Brooch with Leaves and Volutes
, 16th century
Pen and ink, brush and watercolor, sepia on paper
Drawing

Leaves and four volutes are forming an escutcheon with a central big and two smaller pending round diamonds.
Design for a Mirror Frame
, 1775
Pen and ink, brush and watercolor, graphite on paper
Drawing

Square mirror frame with creating composed of an urn with flowers on a platform from which hangs a lambrequin, flanked by arabesques. Flower swags at sides, outside dentilled frame.
Fragment
, 17th century
silk Technique: cut and uncut velvet

Small-scale geometrical pattern in cut and uncut pile in red.
Trail Embankment, Jamaica
Frederic Edwin Church, American, 1826–1900, June 1865
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing the illuminated embankment of a trail in the Jamaican jungle. Green foliage overhangs an embankment of red clay at left, which is also comprised of rocks and boulders. Below, the light of the sun illuminates the clay of the path in a peach/pink-cream color. Study of play of light and shadow.
Skewer with Winged Putto and Swan Terminal
, late 19th century
silver
skewer

Flat tapering pin or skewer topped by relief cast of winged putto with a pair of swans.
Study for a woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Graphite on paper
Drawing

Female figure standing with gown draped over her right arm. The woman is turned toward right and her head is turned toward her right shoulder. Possibly connected with the figure behind -6 in -28-b.
Terrine
Pierre Germain, French, 1703 - 1783, 1748
Etching on laid paper
Print

Tureen made of shell, with leaves for feet with cabbage and mushroom finial. Central ornament topped with crown. The plate is signed and numbered.
Arabesque Panel
Jean Louis Prieur, French, 1732 - 1795, ca. 1770
Pen and brown ink, brush and brown wash, white gouache on white laid paper
Drawing

The design springs from two seated female figures with a vase between them, from which rises a column supporting prancing horses. Above, a relief panel and a semi-circular columned niche with a statue of a stand-female figure before a drapery. Atalantes at either side and seated griffins above. At top, a medallion supported by flying half-figures, above which are winged female figures bearing trumpets and wreaths, flanking a lyre. Arabesque tendrils connect the various parts. (RPW'60)
Attribution to Prieur made by Leon Decloux.
Designs for a Watchcase Lid or Medallion, Baskets of Flowers, and a Frieze
Jacques Vauquer, French, 1621–1686, ca. 1660-70
Engraving on laid paper
Print

An ornament print with a central design for a medallion or the lid of a circular watchcase with a scene depicting three seated figures, a baby, and a young child in a landscape.  Two white women (or a woman and a long-haired man) sit to the left, facing a black woman holding a white baby in her lap, another child, to the left is leaning on a lamb. The figures sit within a landscape, a church and buildings in the background. Two winged putti in the background hold a basket above their heads. This is probably depicting a Biblical scene, either the Rest on the Flight into Egypt with the figures representing Mary, Joseph, Jesus, and possibly his nurse Salome; or Mary and her mother Anne, baby Jesus and the young Saint John the Baptiste, represented with his lamb. The design is flanked by two baskets of flowers and a frieze below featuring putti, cartouches, ribbons, leaves, and flowers. The plate is numbered and signed.
Tsuba
Isobe Isshu, Japanese, late 19th century
Shakudo (an alloy of copper and 3-6% gold), gold inlay

At the center is the nakago-ana, an opening through which the sword passes, with remnants of sekigane (plugs added to fit the tsuba to a sword) made of shakudo (a soft copper and gold alloy). Surrounding this is the seppadai, a flat oval area that is migaki (burnished). On either side are ryō-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). Both are hangetsu-kei (half moon) in shape.
Pleated fan
, ca. 1880
Gouache-painted silk leaf, mother-of-pearl sticks

Pleated fan, white silk leaf painted with flowers in gouache on the obverse. Reverse blank. Plain mother-of-pearl sticks.
Repeating Pattern Designs for Borders
Jean-Baptiste Fay, French, active 1765 – 1790s, late 18th century
Etching on laid paper
Print

Six horizontal designs for ornamental borders featuring arabesque motifs. The designs include repeating patterns of flowers, leaves, rosettes, fleurons, flowers, beads, and ribbons. The plate is numbered and signed.
Stage Design, Palace Interior
, early 19th century
Pen and brown ink, brush and gray ink wash on paper
Drawing

Horizontal rectangle. Principal nave of temple with stairs leading into aisles at the sides, richly decorated arch and dome ceilings.
Study of Covered Wagons
Samuel Colman, American, 1832–1920, possibly 1871
Brush and oil paint on cardboard
Drawing

Horizontal rectangle.  Oblique view of five wagons standing on grass. Blue sky.
Design for a Coffee Urn
Johann Nepomuk, 1821-1823
Pen and gray ink, brush and gray-brown wash, graphite on paper
drawing

A pedestal decorated with a palmette and on top is the receptacle for a spirit lamp. The egg-shaped body of the urn rises between two mermaids flanking the dolphin head with the hole for the spout which is lightly sketched in pencil at left. The foreparts of two swans form the handles.
The Parthenon at Sunset, Athens
Frederic Edwin Church, American, 1826–1900, April 1869
Oil and graphite on paperboard
Drawing

Landscape and architecture sketch showing a view of the Parthenon and the Acropolis at sunset in Athens, Greece. In the immediate foreground, a fluted column drum (or cylindrical segment of a fluted column) stands at lower left, with its center hole clearly visible. Another column fragment is loosely rendered at right. Loosely rendered in brown and green, the foreground terrain ascends gently toward the middle distance. The Parthenon is situated atop this rise at center, with its eastern facade facing the viewer. Standing near the southeastern corner of the structure, the viewer faces west. In the background at left, the Piraeus (or port city of Athens) is visible along the edge of the Saronic Gulf, as the rugged mountains of Salamis are included along the horizon. The Parthenon itself is backlit by the glow of the setting sun, which casts distant clouds in shades of saturated pink and lends the sky a luminous, warm gradient.
Stage Design, Exterior of Gothic Church
, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Group of Gothic buildings with central church beyond large arch.
Baptismal Font
Giuseppe Barberi, Italian, 1746–1809, late 18th century
Pen and brown ink, brush and brown wash, on off-white laid paper, lined
Drawing

Sketch of a decorative architectural element, consisting of a double-convex bowl on a foot with a carved mask, supporting a pyramidal arrangement of a pediment-like form below acanthus, winged cherub heads, and garlands, below the finial orb and cross.
Corniches d'Impériales de Lit
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two cornice designs, one above the other. The top cornice is decorated with, from top to bottom, egg (in the form on pinecones) and dart, bead and bar course, stylized acanthus leaves, and ribbon twist with dowel ornamentation. The cornice profile is provided on the left, as is a scale indicating "2 Pouces 5 lignes." The bottom cornice is decorated with, from top to bottom, bead course, fluting with ornamented channels, stylized acanthus leaves, and ribbon twist ornamentation. The cornice profile is provided on the left, as is a scale indicating "2 Pouces 1 ligne." The plate is signed and numbered, but not with the album letter.
Mill by a Stream, Catskill, New York
Frederic Edwin Church, American, 1826–1900, August and October 1844
Graphite on white wove paper
Drawing

Landscape sketch showing a view of a mill by a river in Catskill, New York. Indistinct foliage stretches across the immediate foreground while a tree frames the scene at left. In the middle distance at right, a mill building stands on the wooded bank of stream that winds through the landscape and curves out of view at left. Other partially-leaved trees and other vegetation are visible in the middle distance at center. In the background, the rugged ridge of the Catskill Escarpment forms a rolling horizon.

Verso: Mixed sketches showing views of three children, with one seated, at left, a yoked cow standing in right profile with two other heads of cows, and a standing horse wearing a blanket.
Cartouche Design
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A cartouche design featuring c-scrolls, scrolling leaves, flowers, and foliage. The plate is numbered and lettered.
Fragment
, 18th century
silk Technique: 4&1 satin (interruption of 2) damask

White damask with a design of large medallions containing pomegranates in a patterned ground.
Old Cathedral at Brescia
Antonio Giuseppe Basoli, Italian, 1774–1843, early 19th century
Pen and bistre ink, brush and sepia wash on paper
Drawing

Horizontal rectangle. Sketch, possibly for stage. Interior of Old Cathedral at Brescia, view into side part with four figures at left.
Trimming
, early 19th century
silk Technique: woven

Blue satin ground with ivory leaves turning alternately left and right; wave design in border.
Old Man's Head
Francesco Bartolozzi, Italian, active England, 1727–1815, 1796
Engraving in the crayon manner in red-brown ink on white paper
Print

Old man with a great beard, looking upward and slightly to the right.
Sketches of a Hilltop Town, Italy
Frederic Edwin Church, American, 1826–1900, 1868–69
Graphite on gray-green wove paper; verso: graphite
Drawing

Landscape sketches showing three stacked views of a town on a hill in the Italian countryside. In the upper portion, bluffs topped with several trees are loosely rendered. In the middle section, a distant town on a prominence is shown within an otherwise expansive and rolling wooded landscape. In lower portion and oppositely oriented, a closer view of the town is shown, with one prominent tower.

Verso: Mixed architectural and landscape sketches showing views of vine-covered ruins at upper right, a castle on a hill at left, a mill building at lower left and oriented to the left, and, at lower right and oriented to the right, a view of a road beside stones and trees is shown.
Study for Abimelech Reproveth Sarah, Plate 81, Physica Sacra
Johann Melchior Füssli, Swiss, 1677–1736, before 1731
Brush and grey wash, pen and brown ink on cream laid paper
Drawing

A group of robed figures congregates in the center of the picture. One female figure stares directly at a man across from her, who is standing next to a dog and holds a round object. The figures are framed by a tree on the left and a building on the right. The frame is attached to numerous coins, which are marked with a variety of letters, symbols, and other imagery.
Design for a Pendant Trophy
René Charpentier, French, 1680 - 1723, ca. 1736
Etching on laid paper
Print

A design for an ornamental pendant trophy from a series of twelve plates. The trophy features a central framed cartouche with a man lying on the ground, intertwined with arms and armor, foliate olive branches, a crown, ribbons, and rope, hanging from a tied textile ribbon. The plate is signed.
In the Woods
Charles Nicolas Ransonnette, French, 1793 - 1877, 1856
Pen and ink, brush and gray watercolor, brush and black and white gouache on blue paper
Drawing

A woman sits under a tree in the right middle plane. A seated group is shown in the left background. Part of the cover of a "Catalogue de tableaux… par Horsin Déon."
Plan Coupe et Elévation du Pavillon Turc construit au ci-devant Chateau du Duc de Pentièvre à Armainvilliers. Ce Dessin à été communiqué par Renard Archite
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print with two exterior elevations, two sectional views, and a floor plan for a garden pavilion and bridge decorated in a Turkish style. The pavilion has a three-domed roof and two minarets (or towers), topped with crescent moons. The plate is titled, numbered, and signed.
Ornament Designs
Jean Bérain, the elder, French, 1640 – 1711, ca.1670–ca.1700
Etching and engraving on laid paper
Print

A plate with four ornament designs featuring grotesques motifs. In the center a mask with scrolling foliage. The other three ornaments incorporate scrolling masks and terminal figures, foliage, acanthus leaves, flowers, fleurons, and rosettes. The plate is signed and numbered.
Design for a Pedestal and a Bowl, Intended for Execution in White and Rose Marbles for Marie Antoinette at St. Cloud
Marie Antoinette, Queen of France, French, 1755 - 1793, 1780–1785
Pen and Chinese ink, brush and grey and rose watercolor, black ink on paper
Drawing

The pedestal stands upon a base. It is supported at the corners by obliquely disposed griffins. A relief at its front shows two girls pouring water from a jar into an urn. Dolphin masks support festoons above. The bowl has a foot. One side of it is pointed, a mermaid is shown at the opposite one holding snakes.
Plan et Elévation d'un Buffet
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Plan and elevation of a design for a buffet, decorated with ornament motifs including carved trophies suspended by ribbon, bound reed, urns with flowers, fluting, and scrolling acanthus leaf. The plate is signed and numbered.
Collar
, late 17th–early 18th century
linen Technique: needle lace

Plat point de Venise and inserted sections.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Light green warp with pink and green wefts.
The Dancing Bear
Bartolomeo Pinelli, Italian, 1781–1835, 1807–08
Pen and gray ink with watercolor and black chalk on off-white wove paper
Drawing

The bear and its leader are variations of the motif plate 7, loc. cit.; the bear holds a pole. A piper, two women and a child are at left, the woman with the terrified girl, the Capuchin, both similar to loc. cit., a woman with a baby is at right, a boy in the rear. The setting is a street of a place near Rome.
Les Quatre Elements
B. M. Lebert, 1759–1836, ca. 1810
cotton Technique: printed by engraved copper plate on plain weave; mordant for red on white
Textile

Two wide stripes showing the Four Elements: on the left is Venus in half shell drawn by dolphins and Pluto or Saturn seated next to a globe of the earth; On the right Juno in a chariot drawn by peacocks and Vulcan at his forge. Stripe up center contains symbols of the four elements: Salamander for fire, Fruit and garden tools for earth, Fish, shells and nets for water, plus an eagle and wind instrument for air. Narrow border on right contains the twelve signs of the zodiac.
L'histoire d'Alexandre
Petitpierre et Cie, Nantes, France, 1770–1848, 1785
cotton Technique: printed by engraved copper plate on plain weave
Textile

Scenes of classical figures in an encampment outside a city, cows in a river and an old man making baskets in conversation with a helmeted warrior. In red on white.
Sketch with Wings and Drapery
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on laid paper
Drawing

Wings, upper left; drapery, right.
Fragment
, 17th–18th century
wool on cotton Technique: embroidered on twill weave

Twill weave cotton embroidered in dark blue crewel. Stylized floral forms and leaves. Left edge shows green wool braid.
Page Two from "Quatrieme Livre Contenant Des Montans où Pilastres Inventés par G. M. Oppenort Architecte du Roi et Gravés par Huquier"
Gilles-Marie Oppenord, French, 1672–1742, after 1751
Etching on paper
Print

Three "candelabra-like" arrangements of various motifs, characterized by: first, Diana with her dog; second: a rooster; third: three putti with musical instruments. Inscribed, upper left: "D"; upper right: "2"; lower left: "Oppenort inv."; center: "Avec privilege du Roi"; lower right: "Huquier sculp. et ex."
Textile
, 19th century
wool Technique: plain weave

Plain undyed cloth, formerly made in large amounts in New Mexican Spanish homes. Called sabanilla, meaning "little sheet". Often used to make large sacks, at least 6' , of two widths sewn together. Stuffed with raw wool and used as a bed at night, divan in daytime.
Embossed wool
, 1800–1850
wool, linen, silk Technique: stamped

Fragment from curtain (rings still at top) of warm red, hard-surfaced wool, stamped in barely visible design of large all-over floral motifs. Bordered along one side by woven linen-and-silk strip in wreath and anthemioh design, also red.
Fragment
, 19th century
linen Technique: bobbin lace (Brussels-style)

Fragment of a border has a design of flowers and leaves with curving bands of openwork and star-shaped mesh.
Altar
Giuseppe Valadier, Italian, 1762–1839, 1775
Graphite, gray wash Support: laid paper
Drawing

Dado has a central representation of the Last Supper (either to be painted or bas-relief). Above, an arched niche with a statue of Christ standing
Design for a Pitcher
, 1550–1600
Pen and ink, brush and wash on paper
Drawing

Sketch of a pitcher, spout facing right. Handel was figural ornament. Suggestion of grotesque decoration on body.
Fragment
, 18th century
linen Technique: bobbin lace with needle ground

Border fragment with oval reserve areas filled with openwork stitches and tiny rosettes scattered on ground.
Fringe
, 16th century
silk Technique: woven

Yellow fringe with woven heading in a chain design. Skirt threads are looped and twisted.