biglam/cooper-hewitt-alt-text huggingface dataset:
Men
Robert Frederick Blum, American, 1857–1903, 1876–1877
Graphite on wove paper
Drawing

Sketch of three male figures; Center left, male figure seated with head covered; Center, male figure standing with head covered; Center right, partial view of a male figure lying on the floor with his arms covering his face.
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 arms and armor, and religious iconography, intertwined with a crown of thorns, a cross, a vase, a central cartouche with figures, a flying putto supporting the cross, clouds, draped textiles, palm leaves, and winged putti heads hanging from a tied ribbon or textile. The plate is signed.
How to Determine the Height of Support Panels
André-Jacob Roubo, French, 1739–1791, 1770
Engraving on paper
Print

How to determine the height of support panels.
Figure
Robert Frederick Blum, American, 1857–1903, n.d.
Graphite on wove paper
Drawing

Sketch of a figure wearing a hat and a long coat.
LA CHASSE AUX LAPPINS
Christophe Huet, French, 1695 – 1759, mid- 18th century
Etching and engraving on laid paper
Bound print

A crouching monkey wearing a long coat on the left holds a long rifle and points it at two rabbits on the right. A dog is positioned next to him on his left. A tree appears in the middle of the composition. The plate is titled, signed and numbered.
Fragment
, ca. 1700
silk, metallic thread Technique: ciselé voided satin velvet.

Pilaster-like pattern of large-scale leaves and flowers in green ciselé velvet on yellow satin ground.  Satin ground originally shot through with flat strips of gold, which is now almost entirely worn away.
Papaya Tree, Ecuador
Frederic Edwin Church, American, 1826–1900, May 27, 1857
Graphite on tan wove paper
Drawing

Botanical sketch of a papaya tree in Ecuador. Trunk rises along central vertical axis. Leaves and branches radiate off of tree crown in spherical structure. Circular forms of the ripening papaya fruits visible at center.
Fragment
, 16th century
silk Technique: cut and uncut supplementary warp pile (velvet)

Fragment of dark green velvet with a design in cut pile of small flowering branches in horizontal rows turning alternately right and left. Ground in uncut pile.
Two Ornament Designs
Nicolas Pierre Loir, French, 1624 - 1679, ca.1660–1713
Etching on paper
Print

Two plates of ornament designs printed on a single sheet, one above the other. The upper plate features a shallow vase of fruit and foliate branches on a plinth with a cartouche of figures and a smoking plinth, flanked by female torsos morphing into scrolling leaves (rinceaux), draped textile, and ribbons. The lower plate features a roundel with a profile portrait on a plinth, topped by an eagle, and flanked by women (female torsos) morphing into scrolling leaves (rinceaux), a mask (mascaron), wings, snakes, ribbons, and a festoon of leaves. The plates are signed and numbered.
Design for a Pendant Trophy
Jean-Baptiste Pillement, French, 1728–1808, 1772–77
Etching on laid paper
Print

Design for a chinoiserie pendant trophy, from a series of six prints. The trophy features a ribbon tied in a bow with flowers and sprigs, wrapped around musical instruments and a mask. The plate is signed and numbered.
Project for a Window
, 1725–1750
Pen and brown ink, brush and gray, pink and brown wash, races of graphite on off-white laid paper
Drawing

Elevation with detail of pediment. Two scales.
Washington Irving's Library at Sunnyside
Daniel Huntington, American, 1816–1906, March 16, 1860
Graphite on grey-beige paper
Drawing

Sketch of an interior with fireplace at right and door at left. Notes in margins on either side.
Saco River, North Conway, New Hampshire
Daniel Huntington, American, 1816–1906, August 7, 1854
Graphite on paper
Drawing

The river, low in foreground, with pebbles showing. Ridge, slanting down from left to right. Beyond, a forest, with a mountain in distance at right.
Elevation of a Tureen
, 1775–1800
Pen and ink on paper
Drawing

Tureen with lion paw feet and fluted pilaster legs. Scrolling handles above pilasters. Frieze wit eagles and festoons. At top, a small platform with the figure of a lion facing right.
Palace and Fountain
, ca. 1780
Cut paper on wood frame
Lantern slide

Magic lantern slide, optical toy. On black field, a palace in the background, from the top of which fireworks spray out. Hedge with bushes and flowers at either side, receding into background. In foreground, a fountain with two serpents holding up a globe. Pinks, greens, and white.
Section of a Country Villa
Unknown, Italian, ca. 1820
Pen and black ink, brush and rose, brown and blue watercolor, black wash, with black chalk indications on paper
Drawing

Section of a villa.  Three levels are indicated.  There are rooms in the basement, with stairs leading to them.  They are in the corners and originate from the inner octagonal plan of the central room.  In the oblique openings are statues, standing.  The central room and the rooms in the wings are not separated by walls.  There are no walls between the rooms in the wings and the squares.  Ionic columns support the entablatures.  The cupola is decorated with painted garlands and peacocks.
Study for "Music," "The Arts," Library of Congress, Washington D.C.
Kenyon Cox, American, 1856–1919, ca. 1895
Graphite on paper
Drawing

Partial sketch of the body of a violin. The paper is squared for transferring the image.
Coat
, ca. 1790
silk embroidery on silk foundation, silk lining Technique: embroidered in satin, surface satin, stem and knot stitches with appliqué on plain weave foundation with supplementary warp and weft patterning; twill lining Label: silk compound weave embroidered and appliquéd with silk

Man's coat of blue and black patterned silk with large-scale floral embroidery in polychrome silks with appliqué of silk and silk net. Deep borders of embroidery at the center front edges, back vent, pocket flaps and sleeve cuffs. With matching covered buttons; modern machine-lace at cuffs. Lined with white silk twill.
Scrollwork Escutcheon with Representation of Saint Luke the Evangelist
Pieter van der Heyden, Flemish, 1530 - 1572, ca. 1565
Engraving on paper
Print

Saint Luke seated upon the crouching ox. Two putti with festoons and birds.
The left arm of a monk and his left hand
, 1850–1900
Black crayon and white heightenings on green-gray paper
Drawing

A monk's left arm and hand. The right thumb shown on the verso is evidently the remnant of the monk's other hand.
Tree in Landscape
, 1650–1700
Pen and ink, brush and bistre on paper
Drawing

Hilly countryside with trees on a slope. At right, a road with two small figures.
Autumn Landscape, Vermont
Frederic Edwin Church, American, 1826–1900, October 1865
Oil on green-backed paperboard
Drawing

Landscape sketch showing a view of autumn foliage in the rolling terrain near the Green Mountains of Vermont. In the foreground, a brownish-green field extends to the middle distance, where a grove of trees is visible. One tree, at center left, in colored in bright red autumn hues and brightly stands out against the other dull vegetation. A heavily wooded mountain with twin, rounded summits rises in the background and forms an undulating horizon. They sky above is a muddled greyish-blue.
Trim
, 19th century
silk Technique: compound satin weave

Dark red-orange ground with a design formed by primary dark blue weft and secondary wefts of light and dark blue, green, pink, tan and yellow. Geometric design with minute lozenges and swastikas grouped into squares with rosettes in some areas of the design. Lotus medallions at intersections. With insects or butterflies. Right selvage present.
Title Page
Pierre-Philippe Choffard, French, 1730–1809, ca.1760–75
Etching on laid paper
Print

A design for a vignette and title page for a suite of ornament prints. The vignette features two blank oval shields in the center, crowned and framed by flowers, a flaming torch, a profile portrait in miniature, palm leaves, within clouds with sun rays beaming in the background. The plate is titled, signed, and numbered.
Design for a Mirror with Alternative Suggestions
, ca. 1810
Graphite, pen and ink, brush and watercolor on paper
Drawing

Design for a horizontal rectangular frame. At top center, an eagle with a garland in its mouth. Scrolling acanthus leaves. A vase at upper left and another bird at upper right.
Sidewall
, 1765–75
Block-printed on handmade paper

Vertical rectangle composed of pieced fragments. Repeating design of crossed foliate scrolls, black on blue, enclosing gray area with diagonally overprinted white stripes, in center of which is a floral spray in black on blue. Diaper or trellis-style design.
Mountains and Clouds, Jamaica
Frederic Edwin Church, American, 1826–1900, May 1865
Graphite and white gouache on gray wove paper
Drawing

Landscape sketch showing a loosely sketched view of mountain ridges with puffy clouds in Jamaica. At center, two heavily wooded ridges are visible, one in front of the other. The far ridge is dark and shrouded in shadow. Billowing clouds, highlighted in white gouache, pass between and above the ridges in an otherwise clear sky.
LES CASCADES DE FONTAINEBLEAU
Gabriel Perelle, French, 1604–1677, 1660–1703
Etching on laid paper
Print

View of the gardens of the palace of Fontainebleau. Large basin in the foreground with a fountain, sailboats, and smaller row boats with figures. Beyond, there is a large pavilion with fountains in rocaille niches, and a large basin. Figures, horseman, and a horse-drawn carriage in the grounds. Trees and buildings in the background. The title and description are lettered on a separate plate, printed directly below the image.
Elevation of a Stately Building with Three Entrances
, late 18th century
Pen and ink, brush and gray wash on white laid paper
Drawing

Horizontal format architectural drawing. The building depicted has three floors and a basement. The central part of three bays, and the ends of two bays each project; the last named ones, twice. Rustic in the last bays. Five steps lead to doors in the outermost and the central bays. Pilasters of Ionic order in the top floors. Framing similar to 1940-21-29.
Design for a Long-Case Clock in a Niche
Charles-Nicolas Cochin the younger, French, 1715–1790, ca. 1734
Etching on paper
Print

Frontal view of a tall clock. The top decorated with globe and allegorical figures around it. In foreground, groundplan of the clock. Inscribed, lower left: "A. Vassé invenit, et deli"; lower right: "C.N. Cochin Filius Sculp."
Feu à la Polonaise
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for an andiron decorated with ornament motifs including rosettes, acanthus leaf scroll, flaming footed urn, and lamb tongue. The plate is not signed.
Design for a Cruet Stand
Joseph Anton Seethaler II, German, 1799–1868, ca. 1827–35
Pen and black ink, brush and wash on paper
Drawing

Two glass bottles with handles and chained stoppers stand in a tub-shaped stand with fluted feet. The stand is decorated with cut out lozenge ornaments. The handle of the stand in middle with an upside down triangular-shaped handle, and fluted feet. The drawing has been folded.
Cup and Saucer with Rose Medallion
Fürstenberg Porcelain Manufactory, German, established 1747, early 19th century
hard paste porcelain, vitreous enamel, gold
cup and saucer

Cylindrical; saucer flat with flaring sides. Strap handle of rectangular form. Floral medallion.
Wooded Hills, Mt. Desert Island, Maine
Frederic Edwin Church, American, 1826–1900, September 1860
Graphite on white wove paper
drawing

Landscape sketch showing a view of wooded hills and ridges on Mt. Desert Island in Maine. In the foreground, nearby treetops are visible, which give way to a rounded mountain peak in the middle distance at center right. In the background at left, a long, shaded ridge extends out of view at left.
Teapot (Théière)
Lille Porcelain Manufactory, French, established by ca. 1711, ca. 1785
soft paste porcelain, vitreous enamel, gold
teapot

Circular teapot on plain foot with strait spout, squared strap handle, rounded bowl and flattened cavetto top. Flat domes cover with apple-shaped knob. Gilded edges with small sprays of pink and green flowers.
Botanical Sketces with a Flying Crane, Colombia
Frederic Edwin Church, American, 1826–1900, May–October 1853
Graphite on gray laid paper
Drawing

Botanical sketches showing views of trees in Colombia, as well as a flying crane. Along the upper margin, a palm tree is shown at left, a vine-wreathed tree at center, and loosely rendered treetops at right. At lower left, a hanging vine with leaves is included alongside a sketch of two trees covered in vines, at lower center. At lower right, a crane flying in right profile is loosely sketched.
NOUVEAU LIVRES DE VASES PAR le Sieur Ranson Peintre Decorateur
Pierre Ranson, French, 1736–1786, late 18th century
Album

An album of vase designs with flowers, illustrated on brackets or within minimal landscapes. The vases are decorated with neo-classical and rococo motifs.
Decorative panel
, ca. 1860
Block-printed paper, wood support

Vertical strip mounted in three separate sections. Approximation to Louis XVI style. Pilaster in blue and gray, with arabesques and a pink medallion in simulated relief, and portions of flanking panels in neutral yellow.

From catalog card: Framed. Lower right corner of lowest section is missing.
John Reed, Illustration for Publisher's Weekly (XX, No. 21-22, November 1881, p. 644)
Frederick Stuart Church, American, 1842–1924, 1881
Etching on paper
Ephemera

Left, profile of figure with hat and mustache standing, with hand on hip leaning on wooden fence. Right, figure plowing with tow horses. Forest in background.
Autres dévéloppements et assemblage de Charpente à l'usage des Bâtiments en 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.
Fragment
, 18th century
tempera on silk Technique: printed and painted on plain weave

White ground fabric with a design of a central slender twining stem with rose-colored blossoms and buds with scattered floral sprays in green, blue and rose at either side.
Putti and Winged Figure
, 1750–1780
Graphite, pen and ink, brush and wash on paper
Drawing

Three putti around a winged figure with clasped hands. One putto holds a mirror.
Button
, 1848–80
Brass

Round button decorated with helmet resting on sword and crossed oak and laurel sprays. Army staff 1848-1880.

Component -a is on card i
Naufrage (Shipwreck), in Livre Nouveau de Douze Morceaux de Fantaisie (New Book of Twelve Works of Fantasy)
Jacques de Lajoüe, French, 1687–1761, 18th century
Engraving on laid paper
Print

Scene of a shipwreck surrounded by rocks and waves; below, sea creatures on shore. Above, cliff overhanging with waterfall, conch shells, plants, paddle, spear, and personification of wind.
LA COUR DU CHÂTEAU DE CHANTILLY
Adam Perelle, French, 1638 – 1695, 1680–1703
Etching on laid paper
Print

Bird's eye view of the courtyard of the chateau of Chantilly with figures and horse-drawn carriages in the center. The plate is titled.
Vase de marbre blanc, dans la grande allée à Versailles
Marie Michelle Blondel, French, active mid 18th century, 1744–56
Etching on laid paper
Print

Design for a vase form the Great Lawn in the gardens at Versailles. The body of the vase is decorated with fretwork, each fret enclosing a fleurs-de-lys. The vase is also decorated with acanthus leaf, and floral motifs and fluting. The description is lettered on either side of the foot of the vase, with a scale below the base. The plate is signed.
Oval Ceiling with Three Graces, Design for Sala di Enea, Palazzo Marescalchi, Bologna
Felice Giani, Italian, 1758–1823, 1810
Pen and ink on paper
Drawing

Ceiling divided into central oval medallion surrounded by four smaller oval medallions in  trapezoids, separated by octagonal representations, and at short sides by trapezoids with Fates: at left,  inscribed tre parche; at right, Graces, and inscribed tre grazie. At left below, detailed sketch of panel with Graces, inscribed le tre grazie. Above, in opposite direction panel containing Fates, inscribed: le tre parze (corrected). Verso:  two high trapezoids, either of them with candelabrum. At foot of left one are Fates and inscribed: le tre parche; at right Graces, inscribed: le tre Grazie.
Design for a Badge of the Sicilian Military Order
, ca. 1820
Pen and ink, brush and blue, yellow, green watercolor on paper
Drawing

Working sketch showing a design for a badge of the R. Sicilian Military Order of St. Ferdinand and of Merit. At left, a small sketch of a part of a crown. In the center, hanging at two rings is the right half of the crown, below it is the lily on top, marked as "1," with the fastening ring around it marked as "5," and branches of rays marked as "2." The circle of the obverse is marked "3." Its dark blue color and the golden color of the five dots are indicated, and the caption "FIDEI ET MERITO" at bottom. The colors of the image of the king are indicated, and the ground is marked as "4."
Sketch, Sugar Camp, Greensboro, Vt.
Samuel Colman, American, 1832–1920, August 26, 1916
Graphite, pen and ink on paper
Drawing

A wooden house is shown surrounded by tres. The date and the caption are written in graphite, below.
Portrait of Jacob van Vien, from "Etchings of Pictures in the Metropolitan Museum, New York"
Jules Ferdinand Jacquemart, French, 1837 - 1880, 1871
Etching on paper
Print

Shown in three-quarter profile, wearing a fur hat.
Fork and Knife with Porcelain Handles
Meissen Porcelain Manufactory, German, active from 1710 to the present, mid- 18th–18th century
hard paste porcelain, vitreous enamel, gold, steel
fork and knife

Knife (a): steel blade with up-curved tip with tapering tubular porcelain handle with blue arabesques on a white ground with painted gilt decoration; fork (b): four tine silver gilt with tapering tubular porcelain handle with blue arabesques on a white ground with painted gilt decoration.
Two Designs for Fireplaces, Plan and Elevation
Jean Mariette, French, 1660–1742, ca. 1660–1742
Engraving on paper
Print

Two designs for fireplaces shown in plan and elevation.
Design for the Decoration of a Panel
Giuseppe Barberi, Italian, 1746–1809, 1780-1790
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Below is a pedestal with crouching sphinxes at its corners. They support with their heads flower pots from which candelabra rise, with winged half-figures on top supporting with their raised hands a garland and festoons. Three women, embracing each other, stand upon the pedestal. The two lateral ones support with their arms the squrae frame of a landscape. Above it is a floral candelabrum with two half figures. Below, at the front of the pedestal, sits a putto, his hands resting upon two festoons.
Design for a Frieze
, 1840–75
Pen and brown ink, graphite on off-white wove paper
Drawing

Horizontal rectangle. Left half of a design for a frieze is shown. The half-figure of a fantastic sea lion is shown in profile turned toward right. Creature holds a laurel branch in its mouth and supports a standing scrollwork escutcheon at right. The back of the body is transformed into an acanthus rinceau. A figure sits upon the lion shown in profile, turned toward left.
Square
, late 19th century
cotton Technique: printed on plain weave

Square printed in dark red and black on white with a border of large flowers, and a center filled with leaves and fruit.
Portrait of the Emperor Charles V
Emperor Charles V, Netherlandish, 1500 – 1558, 1530–35
Pen and black ink on laid paper
Drawing

Portrait of a beared man in profile.
Design for Sofa and Mirror, Portrait Room, Royal Palace; Warsaw, Poland
Jean Louis Prieur, French, 1732 - 1795, ca. 1766
Pen and black ink, brush and gray wash, rose watercolor on cream laid paper
Drawing

A sofa with two end seats separated by gaines from the central section; a double-headed spread eagle, top center, from which festoons hang toward the bottom of the mirror frame, topped by a canopy with feathers; above, curtains are held up by putti crouching at the corners; a circular medallion under the canopy contains the monogram SIR, referring to King Stanislas Augustus II of Poland (l732-1798).
Ironwork Gate Design
Jean Tijou, French, active 1689 - 1712, 1693
Etching on laid paper
Print

Ironwork arched gate design for Burghley House, Cambridgeshire, decorated with lions, wheat, rosettes, fleurons, scrolling leaves (rinceaux), and foliate scrolls. The plate is signed and numbered.
Mountainous Landscape
, early 19th century
Pen and ink, brush and wash on paper
Drawing

Mountainous country with a town in the right distance. A forked waterfall is shown before it, the stream winding toward the right foreground. A group of trees and rock in the left foreground.
Sampler
, mid-19th century
linen Technique: darning and interlacing stitches on net

Machine-made net marked off in fifty-four squares; with forty-seven showing embroidery design.
Bell pull
, 19th century
silk, wool, linen, cotton, brass handles Technique: counted stitch embroidery in silk and wool on linen canvas, cotton plain cloth, brass handles

Bell pull made of canvas with embroidery, arranged as cross borders, in floral and geometric designs; brass handles at either end, pierced in design of Chinese type. Embroidery in canvas stitches. Backed with yellow cotton plain cloth.
Design for a clock
Lefebvre Manufactory, Tournai, 1800–1825
Brush and yellow, red, brown, watercolor, pen and black ink, graphite on cream laid paper
Drawing

Base, supported by claw feet, its front panel decorated with four putti, two with a bow and arrow. Clock dial above at left incased in the front of a table with cloth. A lyre stands on top of table. At right, a seated woman in classical dress, her arm outstretched, holding a book.
The Watzmann and the Hochkalter near Berchtesgaden, Bavaria (Germany)
Frederic Edwin Church, American, 1826–1900, June - July, 1868
Oil and graphite on tan paperboard
Drawing

Unfinished landscape study showing a view of the mountains known as the Watzmann and the Hochkalter near Berchtesgaden, Germany, and the scenery of a nearby valley. Bottom half of the composition is rendered only in graphite while the upper half is completed in oil paint. The foreground shows the lush terrain of a valley at the base of these mountains, including a curving road at lower center and pastures with structures in the middle distance at right. In the background at left, the jagged twin peaks of the Watzmann rise like fangs in the sky and catch the pink light of the setting sun. At right, the rugged and snow-strewn slopes of the Hochkalter are visible in the distance.
Three Evergreens, Catskill, New York
Frederic Edwin Church, American, 1826–1900, February 1845
Graphite on white wove paper
drawing

Botanical sketches showing three views of evergreen trees, with the unfinished base of a tree branch at right. At left, the darkly-rendered top of a conifer tree is shown above two fully formed evergreens.
Section of the Portico, Santa Maria Maggiore, Rome, Italy
Ferdinando Fuga, Italian, 1699 - 1781, 1740–41
Graphite, pen and black ink on cream laid paper
Drawing

Design shows wall elevation consisting of four doorways supported by a pair of pilasters. Greater in height than the others, the third doorway from the left has two pediments: a triangular inner one, and a rounded broken outer one. Surmounting this doorway is a lunette, with two sculpted cherubs bearing a roundel. Other lunettes of masks and garlands appear above other portals. Details of ceiling decorations at top.
A Village Scene
, 1610–1650
Pen and bistre on paper
Drawing

At left, two peasants sit by a brick wall chatting. Beside them, a horse stands beside a tree, laden with wheat. At right, a shepard guides his flock across a bridge, towards a village.