biglam/cooper-hewitt-alt-text huggingface dataset:
Design for Ceiling Ornament
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 18th century
Engraving on paper
Bound print

View of a quarter of a vaulted ceiling, the border decorated with elaborate cartouches, presumably for paintings. Largest cartouche at lower left corner, topped by a bird and palms.
Landscape near Jorje, Ecuador
Frederic Edwin Church, American, 1826–1900, July 23, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing view of mountainous terrain near Jorje, Ecuador. Lush, wooded slopes at left and right create a 'V' at the center of the composition, through which a distant mountain is visible. Sky above filled with puffy clouds. Foreground made up of sparse, mixed vegetation.
Study of Oaks at Dennings Point
Daniel Huntington, American, 1816–1906, September 8, 1847
Graphite on paper
Drawing

Two oak trees close to each other, with limbs entangled.
Woman Standing Before a Piano
Winslow Homer, American, 1836–1910, 1862
Graphite on paper
Drawing

Recto: Vertical view of a woman standing at a square piano, with a open book of music on its rack, and indications of two pictures haning on a wall behind.

Verso: Two mourning women, with one resting her head on the shoulder of the other, in the opposite direction from recto; as well as a part of a sketch of a woman seen obliquely from the right back, and a sketch of the right hand of another women is shown on her right hip, horizontally across the bottom edge.
Noon Time Meal
, 1750–1775
Brush and watercolor, gold on paper
Print

Printed from two plates. A man, two women, and a girl saying grace at an outdoor table spread with various dishes, vessels, etc. A tower and a hosue in the background. Bottom: "EL MEDIODIA" "LE MIDI". The same wide border as in 1921-22-256.
Cloud Sketch and Figure of Cecrops
Frederic Edwin Church, American, 1826–1900, 1868–90
Graphite on white wove paper
Drawing

Atmosphere and figure sketch showing a view of clouds, at left, and the figure of the legendary first kind of Athens, Cecrops, at right. At left, puffy, white clouds hang above a gray bank of clouds over a dark landscape with a tree at right and several evenly spaced forms throughout. At right, a man with a beard and long hair is loosely rendered. He faces us with his hand on his hip and his head turned. According to the inscription, this figure is meant to be Cecrops. His clothing appears rough and incompletely rendered.
Project for a Chalice
, 1675–1700
Pen and ink, brush and watercolor, sepia on paper
Drawing

Only ornaments are architectural forms. On the back, the plan of the base.
PROJETS DE PONTS EN PERSPECTIVE
Giovanni Paolo Gaspari, 1714 – 1775, 1770
Etching and engraving on paper
Print

Two designs for bridges featuring sculptures, columns, rustication, and trophies. The plate is titled, numbered, signed, and dated.
Design for a Comb
, ca. 1830
Pen and ink, brush and gray, yellow watercolor on paper
Drawing

Jewelry design for a hair comb intended to be executed in gilded, partly engraved metal and diamonds. Seventeen tines. The cresting border consists of hearts with, on top, a big diamond between two small pearls, inside a lozenge with four pearls instead of the angles. The central row contains two chains of pearls and eight bigger pearls below as a junction to the engraved band.
Designs for Ornament
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Designs for ornament bound within borders, and featuring motifs including garland, pinecone, palmettes, rosettes, birds, torches, mascarons, cornucopia, and branches. The plate is signed and numbered.
Stage Design, Church Interior
, early 19th century
Pen and bistre ink, brush and wash on paper
Drawing

Horizontal rectangle. Interior of Renaissance church with richly decorated tombs.
Cross Section of a Salon and a Gallery
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Cross section showing two adjoining interiors. The interior on the left is decorated with panel trophies, overdoor paintings, portraits in cartouches, and a scene of mythological subject matter. The larger interior on the right features mythological statues at the base of the star-covered dome. A graphite inscription at the bottom of the page indicates that this design was part of a project for an Italian-style salon joined to a gallery for the Elector of Saxony. The plate is signed and numbered.
Bandbox
Hannah Davis, 1784 – 1863, 1830–40
Block-printed paper, wood support, newspaper lining

Blue field; medallion of woman driving a chariot, green and white, with small amount of pink; enframed in white conventional foliage scrolls. Inside of box lined with newpaper dated 1827.
Design for Two Pendants with Caryatides and Dolphins
, 16th century
Pen and ink, brush and watercolor, sepia on paper
Drawing

Larger pendant at left, with a round diamond framed by volutes. Below two ignudi frame a large oblong diamond. Three pendant pearl. Small design at right, with dolphins in places of ignudi.
Parish of San Juan Bautista, Temamatla, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite on light green wove paper; verso: graphite
Drawing

Architecture sketch showing a view of the Parish of San Juan Bautista in Temamatla, Mexico, from the rear. The church's central dome and square belltower are prominently visible at center right, viewed from behind. The church's rear wall, punctuated with several windows and largely made up of white stucco, extends horizontally across the center of the composition.

Verso: Landscape sketch showing a view of mountains around Toluca, Mexico. In the distance at center, a rugged mountain with two sharp peaks is visible, while at lower left, a tree and other vegetation are visible.
Botaniste Chinois
François Boucher, French, 1703–1770, 1738-1745
Etching on laid paper
Print

Plate printed with an older man dressed in Chinese costume (chinoiserie) holding a branch over his left shoulder. He stands outside, next to a basket of more plants and a vase. The plate is signed and numbered.
Fragment
, 13th century
silk, linen, metallic Technique: compound twill (samite)

Roundels containing birds set in a square grid.
Fragment of a medallion
, 5th–8th century
warp; S-spun, Z-twist linen. Wefts; s-spun linen, S-spun wool Technique: slit tapestry with supplementary weft wrapping

Bottom part of a larger medallion showing two addorsed riders looking back.
Sidewall and border
, 1795–1810
Block-printed and flocked on handmade paper

Horizontal rectangle. Paper sown with repeating conventionalized daisies with leaves. Border printed with morning-glory vine, with violet and white flowers and leaves in dark green flock, edged with conventionalized morning glories set between serpentine lines.
Elevation du costé du Jardin de l’Hostel de Sully
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of the exterior facade of the Parisian hôtel particulier (grand house), the Hotel of Sully, from the Garden view. The façade features windows, and statues in niches. A scale below. The plate is titled and signed.
Le Lapin de Garenne
Felix Bracquemond, France, 1833 – 1914, ca. 1870
Etching on cream paper
Print

A hare is seen suspended from a nail in right profile.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page with two plates printed next to one another. The left plate is a title page, with the text printed on an architectural monument set in a landscape, with putti at the top and the bottom. The right plate features a close view of a mantle, with a large carved shell and dolphins on it. Above the mantle is a rectangular mirror with carved garlands down its side. At the top of the fireplace is a carving of a lion head set in drapery. Both plates are signed and numbered.
Arabesque Design
Berthelot, French, active late 18th century, 1788
Etching and aquatint on laid paper
Print

A vertical arabesque ornament design with neoclassical motifs featuring scrolling acanthus leaves, olive branches, wheat, festoons of flowers and leaves, rosettes, fleurons, a vase, birds, putti, a seated man, classical figures, a roundel of a woman, a mask, vignette with putto, and draped textiles with passementerie and tassels. The plate is signed and numbered.
Fragment
, 13th century
silk Technique: complementary weft 2/1 twill

Repeat of rosettes on a purple background.
Designs for Cartouches
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates, with three cartouches each. The left plate features cartouches comprised of, from top to bottom: wings, a shell, branches; grotesques, a winged putto, mascarons; and putti on the ground on either side of a cartouche. The plate on the right features, from top to bottom:  a cartouche with an animal skin, a bow and quiver; a crowned cartouche between an eagle and a dog, with fasces and a flag; and a cartouche with two anguipeds. Both plates are signed and numbered.
Funeral Decorations for King Louis XVI of France
Giuseppe Barberi, Italian, 1746–1809, 1793
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

Above at right: the elevation of a tomb structure. In front of the panels beside the door frame stand caryatids, in the shape of mourning women, and support the frieze, which is decorated with festoons. Above the cornices is pedestal with on top the motif of 1938-88-1308. Below: a base accessible by steps in the center, and with candelabra with flames at the corners; the right only is visible. On top of further steps is a pedestal having below a moulding above a panel with a row of figures. It is framed below and laterally by mouldings. Above stands the sarcophagus supported by two feet. It is angular. Around the upper edge is a band, bearing at the front the inscription LVIGI XV. Laterally are upon the band a lion mask with a ring. The pediment of the cover has a smaller width than the body. Beside at right are some lines of another sketch.
Façade de la Salle de Concert
Jean-François de Neufforge, Flemish, 1714–1791, 1768
Engraving on paper
Print

Design for the façade of a concert hall decorated with figurative statuary at the roof, Corinthian capitals, and urns. There is a scale bar of 12 toises (1 toise was equal to about 3.799 square meters). The plate is signed and numbered.
Botanical Sketches near Jorje, Ecuador
Frederic Edwin Church, American, 1826–1900, July 23, 1857
Graphite on tan wove paper
Drawing

Botanical sketch including views of at least ten different plant species near the town of Jorje, Ecuador. At right, a tall, broad-leafed tree is visible beside a palm frond, a bush, and another broad-leafed plant. At center, a ricinus, or castor oil plant is visible next to another plant with white flowers. At left, a tall, palm-like plant.
Tablecloth
, 16th century
linen Technique: cutwork with needle-made filling stitches (reticella) and embroidery

Square cloth with many recticella squares in two sizes running on diagonal lines over entire surface. Larger squares have geometric design while the smaller ones have a small animal, perhaps a bird. Border has triangular tabs of reticella with tassels.
Two Dwellings in Baudelice (?)
Charles Nicolas Ransonnette, French, 1793 - 1877, 1853
Black crayon on light brown cardboard
Drawing

Two poor dwellings are shown at right, one behind the other. In front of the first one is a wooden door between two huge stones. A village is shown in the left background.
Study of a Woman's Skirt and Overcoat
, early 17th century
Red and white chalk on light brown paper
Drawing

Vertical rectangle with the top-right corner cut out. Figure of a woman, turning dynamically away from the viewer, without head, arms or feet. The construction and drapery folds of the skirt and undercoat are highly articulated.
baluster
, ca. 1800
Maple

Turned baluster; square base, turned shaft twisted in upper part. Square capital.
Sampler
Sarah Knott, 1814
silk embroidery on cotton foundation Technique: running and cross stitches on plain weave

Twelve designs in darning.
"On the Beach, Two are Company, Three are None"
Winslow Homer, American, 1836–1910, August 17, 1872
Wood engraving printed in black ink on paper
Print

Horizontal view of a woman in foreground, looking over her shoulder towards man and woman on a beached dory, with the ocean visible in the background.
Project for a Cruet Frame
, 1750–75
Graphite, pen, brush, sepia, yellow and red-brown water colors
Drawing

Standing as upon a base.  The outlines of the glass bottles in broken lines. Left below accounting in graphite.
Landscape with Figures and Donkeys, Syria
Frederic Edwin Church, American, 1826–1900, April 1868
Graphite on gray-green wove paper; verso: graphite and white gouache
Drawing

Sketches from Syria showing an expansive mountain landscape and multiple sketches of figures and donkeys being ridden. In lower portion, the landscape's flat foreground extends into the middle distance, where it meets a rugged range of massive, snow-capped mountains. A standing figure is shown from the rear at extreme left. In upper portion, five donkeys (or perhaps three donkeys and two camels) are rendered with varying levels of detail. At upper left are two sketches of a rider upon a donkey, one in motion. At upper right, possibly two camels are led by a ridden donkey.

Verso: Landscape sketch showing three views of a mirrored mirage effect in the flat Syrian desert. In lowest sketch, the silhouette of a mountain range is visible. A tent is also shown in upper right corner.
Bacchus, Venus, and Ceres
Hendrik Goltzius, Netherlandish, 1558 – 1617, 1600
Engraving on paper
Print

Venus is shown seated between Bacchus and Ceres before a tent. Cupid in the foreground.
Apollo in his Chariot with Aurora, Sala Ottogonale, Palazzo Milzetti, Faenza
Felice Giani, Italian, 1758–1823, 1804–05
Pen and brown ink, brown wash, black chalk on laid paper Support: white laid paper laid down
Drawing

Pageant moving toward left; inscribed in graphite square, sides divided into 20 parts.
Scale: verso.
Project for a reliquary shrine, with alternative suggestions, intended to be executed in stone
, Early 18th century
Pencil, pen, brush and sepia on paper
Drawing

Horizontal composition of a plinth with volutes, cornices and putti, sketched in pencil. Paneled base with escutcheon at center. The upper part is shaped like a sarcophagus with a circular pediment.
Sample book
, 19th century
silk (?) Technique: stencil-dyed

Sample book covered in light blue paper with a fan design in white. One each page, rectangles of printed swatches, largely white on blue and black grounds, have pink borders.
Design for a Woven Fabric, Fragment
, 1815-1840
Yellow and lateritious gouache on oily tracing paper
Drawing

A hanging leaf bough and a lily-of-the-valley plant.
Two Houses in Barranquilla, Colombia
Frederic Edwin Church, American, 1826–1900, April 1853
Oil and graphite on thin paperboard
Drawing

Architecture and landscape sketch showing a view of two houses in Barranquilla, Colombia. At center, a woman in draped clothing stands in the doorway of a house with white, stucco walls and a straw roof. A wooden fence adjoins the house at left and extends out of view, while another similar house is visible in the background at right. The foreground is comprised of a rocky, dirty road largely in shadow. Besides a few clouds, the hazy sky above is blue and clear.
Sunset over Lake Millinocket, Maine
Frederic Edwin Church, American, 1826–1900, probably 1876
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of a sunset over Lake Millinocket in Maine. The lake's rippling waters extend from the foreground to the middle distance, where they encounter a wooded island at right and the opposite shoreline--also heavily wooded--that forms the horizon in the background. Above, wispy clouds are vibrantly illuminated by the light of the setting sun in an otherwise open sky.
Study for a kneeling woman, “Vintage Festival,” Mendelssohn Glee Club, New York, NY
Robert Frederick Blum, American, 1857–1903, 1895–1898
Pastel crayon on laid paper
Drawing

A female figure kneeling. The post of the woman drawn after the nude model slightly turned toward left and with the left forearm before the chest. The upper part of the head is not shown.
Vessels and Roundels with Attributes of Tragedy, Juno, Jupiter, and Hymen
Richard de Lalonde, French, active 1780–96, ca. 1778–1782
Engraving on paper
Print

Vessels and Roundels with attributes of Tragedy, Juno, Jupiter, and Hymen.
Side Chair
John Hewitt, American, 1777–1857, ca. 1820
wood (mahogany), wood (poplar), horse hair (seat)

Back legs flat-sided, front legs flat excepting rounded front face; legs curve outward towar bottom, and back legs incline toward each other at bottom.  Corner posts of back terminate in a double curve with elementary volute form.  Flat top rail bowed toward back, slightly arched, with a rectangular panel of inset veneer surrounded by beading.   Splat horizontal, composed of small oblong faced with veneer, flanked on either side by horizontal coupled C-scrolls deeply carved with foliage, terminating in volutes.  Seat flares from back to front, with straight edges.
Designs for Two Vertical Panels
François de Cuvilliés the Elder, Belgian, 1695 - 1768, 1738
Engraving on paper
Bound print

Two designs for upright rocaille panels. Left panel: at bottom, a male figure holding a triton and a dragon perched upon rocaille scrollwork. Above, at center, a small landscape scene with two putti and an obelisk. Above, at top, additional scrollwork and ornament, a mask, and trees. Right panel: at bottom, a fishing scene; a putto holds a large net near a body of water; waterbirds perch upon the surface, their wings raised, several large fish below. Above, at center, a fountain scene with three putti, the figure at center wearing a cape and holding a staff, the putto at left blowing water through a conch shell. Above, at top, a wind blows a swath of drapery.
Title Page
Gilles-Marie Oppenord, French, 1672–1742, 1749-1761
Etching and engraving on laid paper
Bound print

Page printed with two plates (each divided into two) depicting architecture fragments including cartouches and alters. Both plates are numbered, neither are signed.
Panneau avec son lambris
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for paneling with wainscoting, decorated with ornament motifs including cornucopia, bound leaf garland, and rosettes. The plate is signed.
Two Altar (Communion) Rail Designs
Caillouet, French, mid-18th century, 1775–87
Engraving and etching on paper
Print

Two designs for church altar (communion) rails featuring geometric and scrolling bands, rosettes, beads, and scrolling leaves (fleurons). The plate is signed and numbered.
Embroidery sample
, ca. 1775–1805
silk, glass, paper Technique: embroidered on cut voided supplementary warp pile in a compound foundation (velvet)

Floral pattern embroidered with white silk and clear glass on ground of purple velvet with wavy purple and yellow lines.
Design for a Watchcase Lid or Medallion
Jacques Vauquer, French, 1621–1686, 17th century
Engraving on laid paper
Print

A small ornament print - a design for a medallion or lid of a circular watchcase - with a central basket of fruit and leaves surrounded by scrolling leaves, fleurons, two vases of flowers, three birds, flowers, and fruit. Another impression of this same plate is pasted below on the same page of the album.
Design for Brooch with Three Diamonds
, 16th century
Pen and sepia on paper
Drawing

A faceted octagonal gem framed with two volutes, a mask above and acanthus leaf below. Three suspended pearls.
Design for a Woven Fabric, Fragment
, 1815-1840
Gouache on oily tracing paper
Drawing

A ring consisting of a leaf bough and a row of beads is perpendicularly shown suspended from a bunch of flowers. At left: A leaf spiral from which boughs rise is connected by an undulated thread with a bud on top, at right.
Study of Amaryllises
Sophia L. Crownfield, American, 1862–1929, early 20th century
Brush and watercolor, graphite on gray, linen-textured paper
Drawing

Vertical sheet depicting two sprays of pink and red amaryllises with green foliage.
Bust of August William, Duke of Brunswick-Bevern
Fürstenberg Porcelain Manufactory, German, established 1747, ca. 1771
biscuit, hard paste porcelain, vitreous enamel, gold
bust

Bisque bust of Herzog August Wilhelm von Braunschwig-Bevern. On the plinth, a crowned shield with a horse, surrounded by flags and military trophies.
Textile
, ca. 1850
cotton Technique: woodblock printed on plain weave, glazed

Offset repeat of dense multicolored coverage of leaves and flowers almost covering the stem. Elements include banana leaf, palm leaf, caladium, cactus, passion flower, rhododendron, and hibiscus.
Textile
, 19th century
cotton Technique: printed by engraved roller on plain weave.

All-over pattern in red of four scenes representing the four seasons: L'ete (Summer) a wagon of wheat in an open field; L'Hiver (Winter) Figures on a snow covered bank of a pond; Printemps (Spring) and Automme (Autumn) incomplete. The scenes are placed on a small scale diamond grid background.
Victoria Empress of India 1877
Shobey Shiino, Japanese, 1839–1900, 1877
silk, metal threads Technique: embroidery on satin weave
Coat of arms

Circular medallion embroidered with Queen Victoria's coat of arms: a shield divided in four quarters, with the three lions of England in the first and fourth quarters, the lion of Scotland in the second, and the harp of Ireland in the third. The shield is surrounded by sheaves of wheat. At top center is embroidered "Victoria Empress of India," and at botton center "1877."  Embroidered in blue, green, brown, white and gold on a peach satin ground.
Embroidered Drapes for Lower Floor Windows, Henry J. Allen Residence, Wichita, Kansas
Frank Lloyd Wright, American, 1867–1959, 1917
Graphite, color pencil on beige tracing paper
Drawing

Three designs for embroidered drapes for Lower Floor Windows of Henry J. Allen Residence. Three horizontal rectangles arranged vertically with squares and lines on them to represent embroidery pattern.
Sample
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

Red tone on tone floral and arabesque pattern.
Study of a Woman in Profile
Antoine Watteau, French, 1684–1721, 1734
Etching on laid paper
Print

Study of a woman's head in profile, with her head turned to the right. She wears a beaded necklace tied with a ribbon, and her hair is tied up. The neckline of her dress and shoulders are suggested with a few lines. The plate is signed and numbered.
Textile
Jean-Baptiste Huet, French, 1745 – 1811, 1783–1784
linen Technique: printed by engraved copper plate on plain weave

Textile fragments printed in red on white showing the activities of the Oberkampf factory at Jouy. The designer,  Jean-Baptiste Marie Huet is depicted sketching outdoors. At top, textiles hanging over the frame of the building are printed with the words "Royale" and "Oberkampf" to celebrate the factory's award of the title of Manufacture Royale by Louis XVI in 1783.
The Moray House, Edinburgh
Ernest Clifford Peixotto, American, 1869–1940, 1899
Pen and ink on illustration board
Drawing

The street view of a large stone house, with a gabled roof and a massive gateway, flanked by posts with tall pyramidal heads. A workman, and his wheelbarrow, in the foreground, left.
Four Seasons (Autumn)
Hendrik Goltzius, Netherlandish, 1558 – 1617, ca. 1595
Engraving
Print

B. III. 258. 121. B. IV. 511. 70. Harvesting fruit.
Fragment
, late 18th century
linen Technique: bobbin lace

Fragment of Lille-type lace with small powdered floral sprays.
Fringe
, 17th century
silk Technique: woven

Pink fringe with a plain-woven heading and looped skirt threads.