biglam/cooper-hewitt-alt-text huggingface dataset:
Designs for a Watchcase Lid or Medallion and Friezes
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 depicting a New Testament Biblical scene with Mary, Joseph and the baby Jesus with two winged angels in a landscape with a palm tree to the right, probably during their flight into Egypt. The roundel is flanked by three frieze designs featuring cartouches, scrolling acanthus leaves, ribbons, flowers, crowns, a sun, and putti. The plate is numbered and signed.
Portraot of Cornelius van Aarsens
Jacobus Houbraken, Dutch, 1698 - 1780, 1698–1780
Engraving on paper
Print

Portrait of Cornelius van Aarsens (1545-1627).
Near Falls of Wildcat Brook, Jackson, New Hampshire
Daniel Huntington, American, 1816–1906, August 8, 1854
Graphite on paper
Drawing

Boulders on a slope with trees and plants growing among them. Water flowing down from left to right.
Pedestal of a pilar
Giuseppe Barberi, Italian, 1746–1809, 1780–1790
Pen and brown ink, brush and brown wash on paper
Drawing

Vertical rectangle. Below is a plinth. Upon it stands a wreath, supported by two winged women, sitting, with trumpets. For their posture two suggestions are made. Above it is a projecting band with "PIVS. VI. P. M" Above it are moldings and a curved frieze with festoons supported by a mask. Above it is a band with flutes. Usual background.
Panel
, 19th century
silk Technique: warp-printed ikat, cut supplementary warp pile (velvet)

a: Panel (one of two with 1931-4-20-b), probably for wall hanging. Ribbed cotton weft, and warp of silk, chiné technique - geometric design - borders and edges of red, white, brown, a little yellow and green - small diamond-shaped design in center (striped red, white, brown and yellow) on field of deep blue - Arabic stamp on back.
Sampler
Anna Williams, American, 1806
silk embroidery, linen warp, wool weft Technique: embroidered in cross, chain, rococo, and eyelet stitches on plain weave foundation

Bands of alphabets and numerals, date and inscription, and a cornucopia of flowers in an oval framework with Taunton, September. Enclosed on three sides by stylized floral border, and on the fourth by a Greek fret border. Embroidered in colored silks on a black ground.
Project for a Painted Oblong Ceiling
Flaminio Innocenzi Minozzi, Italian, 1735 – 1817, 1800–1815
Pen and brown ink, brush and brown and gray wash on paper, lined with white heavy textured paper with lithogrphed frame and geometric lines with pen and black ink over graphite
Drawing

Design for a ceiling.  More than one quarter of a ceiling is shown, viewed from below.  It is a view of a slightly vaulted ceiling with arches at the corners (one arch shown, at the lower left corner).  Visible through the arch is a view of a classical colonnade in ruins.  Decorated beams frame the panels.  A cupola is in the central panel.  In the panels adjacent to the arches are two festoons, crossing each other at the short sides; a candelabrum at the long sides.  In the central panel at the long sides (upper left corner of the sheet) stands a displayed eagle upon a festoon.
Decorative Motifs and the Head of a Woman
, ca. 1580
Black chalk, pen and ink, brush and grey watercolor washes, blotted red crayon, lead pencil on laid paper. On verso: red crayon on laid paper.
Drawing

Vertical rectangle. On left, two overdoors. On the top frame sits an entablature with brackets, two cornices of a pediment with suspended festoons. A mask is in the center and an escutcheon is at the very top. At the bottom left door frame,there is an entablature with a scrollwork pediment and a cherub on top. At the bottom right, three-quarter profile of a woman bust portrait whose head is covered with a bonnet. On verso: three quare profile of a young man, a profile of a woman's head is turned toward him.
Bandbox and lid
, ca. 1820
Block-printed on handmade paper, cardboard support

Very exotic foliage, resembling palm trees, with oversize parrots and dragonflies. The upper portion of the box contains a pattern of white stars.  Printed in pink and varnished green on a yellow ground. Very faded.
View over the Sabaneta, Ecuador
Frederic Edwin Church, American, 1826–1900, July 23, 1857
Graphite on tan wove paper
Drawing

Landscape sketch showing a view of treetops and an expansive, cloudy sky over the Sabaneta in Ecuador. Below, two trees pierce the jungle canopy while, above, a wide sky is filled with a variety of clouds.
Design for Woven Horizontal Border
, 1800–1830
Pen and black ink, brush and wash, black chalk on paper
Drawing

Rinceaux in the scheme of horizontal S's are connected by beads. Cups and calyxes alternate in the wedges.
Frieze
, 1810–20
Block-printed on handmade paper

Vertical rectangle. Neutral yellow field. Across bottom, arcade of segmental arches of varying span, outlined in black and covered with intersecting diagonal lines, and separated by green pineapples. Across top, band of acanthus leaves, alternating with lotus blossoms in darker neutral yellow. Broad and narrow black bands across top.
Banks of the Seine
Charles Nicolas Ransonnette, French, 1793 - 1877, 1850-1875
Graphite, brush and watercolor on light green paper
Drawing

A curve of the river is shown in the right central plane.
Frieze
, ca. 1830
Block-printed, handmade paper

Acanthus rinceaux in violet and white on a field of pale violet.
A Ghost
Frederick Stuart Church, American, 1842–1924, 1877
Printed in black ink on blue paper
Ephemera

Top, short story on ghosts. Bottom; profile of ghost with hunchback facing left, at cemetery, left hand points at tombstone. Tombstone labelled, SOZODONT. Upper left, waning crescent,  upper right, three scared owls facing front.
Sketches of Right Arm of Mr. Kennedy and Left Hand of Mr. Silliman
Daniel Huntington, American, 1816–1906, 1880
Graphite on paper
Drawing

Right arm resting on a chair arm, upper left. Upper right, sketch of a chain and key. Below, sketch of a left hand. Verso: Right arm and part of the coat of a man, standing.
View of Damascus, Syria, Part Two
Frederic Edwin Church, American, 1826–1900, May 2, 1868
Graphite on gray-green wove paper
Drawing

Landscape sketch showing the second part of a panoramic view of Damascus, Syria, looking east from the Wadi Barada--a river and canyon northwest of the city. This description refers to the entire view, comprising two leaves with 1917-4-123-a. In the foreground at right, an extremely rugged hillside is partially rendered, with a prominent rocky outcropping at upper right. This hillside descends toward lower center, where a small river snakes through the bottom of a steep canyon. The opposite side of the canyon, at left, has abrupt cliffs that lead to an extremely rugged hilltop at center left, where a small domed structure is visible--this is the Mount Qasioun Observatory. Behind it, Mount Qasioun rises quickly to a rounded summit at upper left. At lower center, the Wadi Barada flows from the canyon and into flat terrain in the middle distance at center, where several farms, groves of trees, and structures are interspersed. At center, the buildings comprising the city of Damascus are visible in this flat plain. Other structures are shown on the horizon at right, while a prominent mountain is visible along the horizon at left.
Chiryu from the Series 53 Stations of Tokaido
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

Three adults pass by two children playing at the T of an intersection. Two old and twisted pines surround this intimate gathering while a rice paddy and a swamp open up the image to a broader landscape.
Fragment
, 17th century
silk Technique: woven

Leaves on the diagonal and plant shapes in red and yellow.
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

A variation of 1938-88-1305. The candelabra have an indistinct shape. No inscription. The female allegory sits upon the attic supporting the medallion with her left hand, beside her, raising her right hand. No festoons at the pedestal. On top a fleur-de-lis.
Plate 7, "Suite de douze Pêcheurs et Chasseurs"
Jean-Baptiste Pillement, French, 1728–1808, 1771
Etching on paper
Print

Decorative landscape with Chinese figure sitting before a hut holding a fishing rod and line with a fish on it. Two framing lines. Right top corner: "7." Bottom: "J. Pillement.del."; "j. j. avril-sculp.1771." Bottom center: "Suite de douze Pêcheurs et Chasseurs / se vend à Paris chés Basan et Poignant Mds d'Estampes, rue et Hôtel / Serpente."
Ceiling paper
W. Campbell & Co., 1890–1900
Machine-printed, ingrain paper, mica

Scroll design in cream on ingrain paper. Mica finish.  No 3442. No. 2285.
Sampler
, 1600–1650
silk and metal-wrapped silk-core embroidery, linen foundation Technique: embroidered in back, tent, rococo, eyelet, chain, cross, long-armed cross, roumanian, stem, twisted chain, and plaited braid stitches on plain weave foundation

'Spot' sampler with individual motifs of geometric interlacings and flowers embroidered in metallic threads and colored silks with some deflected element work, on a natural linen ground.
Mt. Chocorua from Chocorua House
Daniel Huntington, American, 1816–1906, September 22, 1879
Graphite on cream wove paper
Drawing

Mountain at center, with ravine below at left. Pond and trees lightly sketched in foreground. Verso: Sketch of clouds.
Design for the Embroidery of a Man's Waistcoat, Unfinished
, 1780–1790
Graphite, brush and gouache, white on paper
Drawing

Design for embroidery of the left bottom corner of a man's waistcoat. Undecorated pocket. Beneath it flower twigs and two lacy blossoms. Flower boughs and lyre blossoms alternate along the outer edge.
Mt. Katahdin from Millinocket Lake, Maine
Frederic Edwin Church, American, 1826–1900, September 1878
Graphite, white gouache, and oxidized white gouache on tan wove paper
drawing

Landscape sketch showing a view of Mt. Katahdin from the southern shore of Millinocket Lake in Maine. The lake's placid surface extends from the foreground and through to the middle distance, where it encounters a heavily wooded island at center left while, behind it, the opposite shoreline stretches horizontally across the composition. In the background at center, Mt. Katahdin is crowned with clouds as it looms over the scene. Several ridges and washes are highlighted in white gouache, while the mountain's ridge is sharp and serrated. At left, other nearby mountains are visible while South Turner Mountain is shown near the right margin.
Mutsu of Maruebiro
Keisei Eisen, Japanese, 1790 – 1848, ca. 1840
Woodblock print in colored ink on paper
Print

This elegantly decorated geisha woman stands before us barefoot. Her forest green obi is partly draped over her shoulder, creating a gesture of movement as she glances behind her towards a table and bedding. A quaint little frame depicts a woman walking amongst a bamboo forest. This print is titled "Mutsu of Maruebiro," although the reason is unknown.
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. At lower left corner, a fountain with a seabird creature sitting upon a vase, water spewing from its beak. Plants and a dolphin surround the fountain. Along left edge, various decorative scenes including a reclining female nude figure and Poseidon with a trident above horses. Along right edge, a figure sitting beneath a tree against an architectural fragment of a wall, a man holding a staff beneath a rocaille arch made up of sea creature forms, and a view of two ships at sea; in the nearest ship, a figure holds a swath of drapery, using it as a sail. At upper right, rocaille form with shells, vegetation, crustaceans, and a small stream of water.
Design for a Coronet
, 1815–25
Pen and sepia ink, brush and gray watercolor on paper
Drawing

Design for a hair crown. Scrolls from three compartments with five leaves at the bottom of each, disposed as a palmette, springing from a blossom. Upon the cusps, standing pear-like diamonds with a calyx. Upon the crossing points of the scrolls are rosettes.
Design for Chinoiserie Wall Decoration
Daniel Marot, French, active in the Netherlands and England, 1661–1752, ca. 1720
Pen and black ink; brush and rose, yellow and light blue watercolor, white gouache; graphite on off white laid paper
Drawing

Wide central and two narrow lateral panels are flanked by pilaster strips. Each of these and the two halfs of the dado show alternative suggestions for the decoration. The panels show representations of Europeans in  stylised Chinese landscapes. At left a party is shown in the open; at center a reception is shown; at right a group of hunters. Rinceaux ornament decorates the ceiling cove.
Study of a Child's Head
Daniel Huntington, American, 1816–1906, January 1840
Graphite, black crayon, white chalk on brown wove paper, lined
Drawing

Study of a child's head, bent downwards and turned slightly to the left.
Design for an Embroidered Waistcoat, Pattern 518 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, 1780–1790
Graphite, brush and gouache on paper
Drawing

Border motifs are shown along the edges. A waved garland is intertwined with the cord bordering the pocket on top. Plants are obliquely shown in the bittom corners of the pocket. Plants grow over a stylized U-shaped garland suspended from festoons on top. "P 518" is written in ink in the lower part of the design.
Cap crown
, ca. 1820
linen Technique: needlework on net

Central stem with one large rosette-like blossom, seven tiny rosette-like blossoms and five leaves. Eyelets powdered over ground. Drawstring in casing at lower edge.
Children Playing Musical Instruments
Jean-Baptiste Pillement, French, 1728–1808, 1759
Etching on laid paper
Print

Print from a series of fourteen chinoiserie vignettes, depicting children playing a variety of games in different landscapes. Three children stand together, playing musical instruments, under a canopied structure made of leaves, sprigs and trees. The two children in the front are playing a drum and a horn, a third child stands behind them, holding a string instrument, possibly a mandolin. The print is signed and dated.
Design for the Embroidered Decoration of a Main's Waistcoat of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Brush and gouache on paper
Drawing

The design showing a piece off the upright edge over the oblique one is irregularly pentagonal and formed by a green strip. The edges of the flap of the pocket are green with points along the inner sides. From the bottom edge rise three leaf boughs and four stems which pass between the top edge into the field of the waistcoat. It shows similarly treated edges as the flap and a leaf garland along them.
Fragment
, 19th century
silk, metallic threads Technique: plain compound cloth

Ground originally gold with an allover, closely-spaced repeat of small round blossoms in multicolored weft.
Sketch of a Church, Mexico
Frederic Edwin Church, American, 1826–1900, January–February 1890
Graphite on gray-green wove paper
Drawing

Architecture sketch showing a loosely rendered view of a domed church in Mexico. Dominating the composition at center, the church has a large dome topped with a cupola, while its tall and narrow belltower is visible at right. The contour of the building is extremely loosely rendered. Puffy clouds are visible above.
Design for a Bath
Jean-Charles Delafosse, French, 1734 – 1789, 1865
Etching on paper
Print

Design for an upholstered bath with a chair back and carved frame featuring festoons of flowers and leaves, dolphins, quiver of arrows, flaming torch, and shells with cabriole legs. The plate is signed with the printmaker, publisher, and original designer, and numbered.
Fragments
, 16th century
silk, wool? Technique: woven

Large discs framed by curved leaves. Fragments of a cushion cover or panel.
Petites Bibliotheques
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for two small bookcases, decorated with ornament motifs including fluting, meanders, mascaron, acanthus leaves, bound leaf, pinecone, rosette, and garland. The plate is signed.
Purse
, ca. 1880
wool, silk, cotton lining Technique: embroidered

Flat purse, with a checkerboard design formed by stitching down horizontally placed white satin ribbons with vertical groups of pale purple wool yarn. Trimmed with white silk cord and tassels; lined with white cotton.
Hercules Slaying the Hydra of Lerna
Michel Dorigny, 1617 – 1665, 1651
Engraving on paper
Print

hercules and another figure are seen in combat with the Hydra, whose body resembles that of a crab. Below, artist's, engraver's names and the date.
Wall Elevation with Swags and Medallions
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Design for wall elevation with swags, vegetal motifs, putti, and figural medallions, with a large landscape at center.
Console Table
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Elevation of a table, the leg in the form of two mermaids with entwining tails. Between them, a medallion with a seated figure. Below the lip of the table, a frieze with scrolling decoration. At center, a mask sitting within a shell. Swags hang below.
Ornamental Vase Design
St. G..., active 18th century, 1772-1777
Engraving on paper
Print

Low, bowl shaped vase with swan handles. The vase has fluting at the base and acanthus leaf swags. The foot of the vase is tapered and low, and the vase is elevated on a short socle. The plate is numbered.
Design for a Canopy Bed
Giuseppe Barberi, Italian, 1746–1809, ca. 1790
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Two columns for which to alternative designs are suggested, supporting the front curtains. The bed is seen from the long side. Standing is an angular alcove. Background as -1641.
Letter case
, 18th century
silk and metallic thread embroidery on silk foundation Technique: embroidered on satin foundation

White silk embroidered in floral designs with borders.
Bandbox
, ca. 1830
Block-printed paper, pasteboard support

Blue field printed in pink, white and green. Varying figures set apart by trees; child riding a goat, girl standing alone; and doves at an altar.
Design for a Lavamano
Giuseppe Barberi, Italian, 1746–1809, late 18th–early 19th century
Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined
Drawing

Design for a lavamano (bowl for washing hands). Atop an Etruscan column base, a fish-tailed sea god crouches below the weight of a wide-brimmed bowl.
Designs for Beds in the Style of Antiquity
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a bed in the style of antiquity with a design for a canopy at top. The bed is decorated with ornament motifs including urns, branches, and rosettes. The plate is signed and numbered.
Design for a Salon
François-Jacques Delannoy, French, 1755 - 1835, ca. 1785
Pen and ink, brush and watercolor, graphite on paper
Drawing

Arched door frame with a folding door and tympanum as an over door. The lateral wall panel shows sofas under mirrors.
Textile
, 1870–80
cotton Technique: plain weave; Z/Z twist

Two pieces of rpinted pattern of large white and brown checks
Waistcoat (left front)
, late 18th century
silk Technique: chain stitch embroidery

White ribbed silk with chain-stitch embroidery in grey and black silk in a delicate floral pattern, continuous at front and lower edges and pocket; offset springs spaced over ground.
Ornamental Vase Design
Charles Leviez, French, 1708–1778, 1756-1773
Etching on laid paper
Print

Vase with two handles. The vase has a scalloped rim and a neck with spiraling fluting. At the shoulder of the vase is a mascaron. The vase has a tall, tapered foot and is elevated on a small plinth. The print is not signed or numbered.
Design for a Base
, 1775–1800
Graphite, pen and ink, brush and bistre on paper
Drawing

Mouldings at the bottom and top. Cherubim over volutes with garlands are at the edges. The cherubim are connected by a festoon, under which a female mask is flanked by scrolls.
Putto Frieze; Classical Altar
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash over black chalk on cream laid paper
Drawing

Two putti hold indistinct bunches on a ribbon; one putto supported by third putto. Outside, putti with musical instruments.  Horizontal lines. Bottom right, an altar shown at angle.
Design for a Gate of a Villa
Carlo Marchionni, Italian, 1702–1786, 1750–55
Pen and ink on laid paper
Drawing

Pilasters with mounds on top frame of the opening. Volutes connect their upper parts with the garden wall, the nearest parts to the gate of which are shaped as panels flanked by pilasters. A man stand in the opening. Measurements are inscribed. On verso: "Debbito di…(?) Lem Le / Credito mio / Gerchecca (?) / …(?) in man d(I) G…o(?)Cunder(?)" and struck out accounts.
Almanac for 1789
, 1788
Engraving, brush and watercolor on paper
Print

Calendar for first half-year, with three scènes galants; a promenade, fishing, country life.
Fishing boats, Japan
Robert Frederick Blum, American, 1857–1903, 1891–1892
Pastel crayon on wove paper
Drawing

Recto: Sketch of fishing boats on a river; Verso: Sketch of two sailboats.
Study of Angel's Head for "Mercy's Dream"
Daniel Huntington, American, 1816–1906, 1857
Graphite, white chalk on blue wove paper
Drawing

Study of a man's face, looking downward and slightly to the left. Verso: Man standing, facing frontally, and bending to the left. The feet are not shown.
Castle Moat
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

This unordinary print comprises of the rock wall and moat around a castle. The lower half of the print shows a bustling crowd of people heading toward the gateway of a Shinto shrine. Notice the matching sunset pink and ombre effect of the clouds in the front - Hiroshige's impeccable attention to detail comes through in this interesting scene.
Epigonation
, 17th–18th century
metallic, silk, linen Technique: embroidery on plain weave

Tilted square depicting 'The Last Supper"; inscription border in Greek lettering and some Greek inscriptions in field. Red, blue, green silk on gold and silver ground.
Design for a Tureen
Joseph Anton Seethaler II, German, 1799–1868, 1825-1835
Pen and ink, brush and washes
drawing

The vessel is banded by an interweaving vine and ribbon meader. The finial is a spread eagle and coiled snakes form the handles. The base rests on birds' feet and is decorated with acanthus leaves and flowers.
Hercules and Antaeus
Felice Giani, Italian, 1758–1823, 1805
Pen and brown ink over traces of graphite on cream laid paper
Drawing

Antaeus at left.
Design for a Brooch
, late 18th century
Pen and black ink, brush and gray watercolor on off-white laid paper
Drawing

Jewelry design for a brooch. Design takes shape of a knot, the ribbons of which are patterned with blossoms and spheres, accented by a central rosette form, à jour.  The inside has three stripes, the central being a band, between two with alternating blossoms and disks. Beveled corners.
Study for "Genius," "The Arts," Library of Congress, Washington D.C.
Kenyon Cox, American, 1856–1919, ca. 1895
Graphite on paper
Drawing

A young male figure standing with his arms raised. The paper is squared for transferring the image.