biglam/cooper-hewitt-alt-text huggingface dataset:
Monument
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash
Drawing

Vertical composition of a sepulchral monument. Below a sarcophagus is partly covered by a cloth with two putti. A pedestal rises in the back on which two women sit. They are personifications of "Justice" and "Peace." A man in classical armor kneels on a base. An angular niche is indicate. Beside, at right, are parts of another design.
Border
, 1650–1700
linen Technique: bobbin lace, discontinuous tape

Pattern of scrolling leaves and flowers worked in ornamental stitches.
Garden Design
Jean Berain, the elder, French, 1640-1711, 1711
Engraving on laid paper
Bound print

Design for an ornamental garden with scroll and vegetal motifs and topiary. The plate is numbered with a backward "5" but not signed.
Furniture Mount
, ca. 1780
Gilt bronze

Quiver of arrows, torch with flame crossed with arrows, and sword sheath in garland of flowers
Copy after Annunciation of the Angel to Zechariah
Andrea del Sarto, Italian, 1486 - 1530, 1538–1600
Pen, brush, bistre on paper
Drawing

Horizontal rectangle. Very few alterations from original.
Trimming
, 19th century
silk Technique: woven

Trimming fragment in a design of green and white chevrons on a pink ground; picot edges.
Designs for Mechanical Furniture: Three Washstands with Three Bidets
, ca. 1805
Graphite, pen and black ink, brush and watercolor on paper
Drawing

Three washstands with bidets; upper plan, section and elevation; upper right, plan, section and elevation; lower, section and elevation. Lower left, scale.
L'OPTIQUE
Jacques de Lajoüe, French, 1687–1761, 1737
etching and engraving on paper
Bound print

Print after an overdoor painting of an allegory of optics. A group of men hold a large mirror on a plinth within a large garden terrace with fountains and columns. Instruments and tools are scattered around them and on the steps below them. Rays of sunlight reflect off the mirror and are starting a fire with pieces of wood on a large plinth of the garden wall behind them. The title is lettered below, and the plate is signed.
Book Clasp
, probably 17th century
silver
clasp

Two hinged parts of heart-shaped clasp, relief decorated with scroll and openwork and putti; single piece identical to hinged parts.
Portrait of Jean François Sarrasin (1603-1654)
Jacques Lubin, French, 1637 - 1695, 1696-1700
Engraving on paper
Print

Bust-length portrait in three-quarter view, facing right. The sitter wears a wig and cloak draped around his shoulders. The portrait, in an oval frame with coat-of-arms in lower part, stands on an inscribed moulding.
Overdoor Designs
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Two overdoor designs. The overdoor on top features an oval medallion with a cannon in the center, and a plumed helmet above. Around the medallion are attributes of war, including flags, arrows, quivers, and shields. The overdoor below has a round medallion with a monogram made of flowers and scrolls, with a wreath with two doves above it, and a torch and quiver behind. The plate is signed and numbered.
Button
, 19th century
Nickle plated brass

Anchor with crossed guns, swords and cannon and the words"Hotel des Invalides". On reverse, "Cordier Freres Paris".

Component -a is on card H
Designs for Cartouches
Carlo Marchionni, Italian, 1702–1786, mid- 18th century
Pen and sepia ink on laid paper; verso: pen and ink, graphite
Drawing

Vertical rectangle. Cartouches, formed by two trees and two dolphins, three birds flying above. Verso: cartouche formed by two trees with two children with fishtail legs riding upon dolphins below two children in clouds above. Alternative suggestion for the top with two flying birds.
Iztaccíhuatl, Mexico
Frederic Edwin Church, American, 1826–1900, 1883–1884
Graphite and oxidized white gouache on light green wove paper; verso: graphite
Drawing

Landscape sketch showing a view of the volcano known as Iztaccíhuatl, near Mexico City, Mexico. Famous for its craggy, sprawling peaks, Iztaccíhuatl's ridge is extremely rugged and rocky and covered in fields of snow--which, here, are highlighted in oxidized white gouache that appears black. 

Verso: Architecture sketch showing a view of a baking oven in use in Mexico. Situated at center and composed of rectangular bricks, the oven is characterized by its semi-spherical, igloo-like design with a small, arched opening. A chimney situated at its highest point emits black smoke, which drifts to the right in front of the doorway to another nearby building.
Design for the Embroidery of the Top Part of a Man's Coat (Lapel), Pattern No. 1437 of the "Fabrique de St. Ruf"
Fabrique de Saint Ruf, Lyon, France, ca. 1785
Brush and gouache on glazed tracing paper, laid down on paper
Drawing

Part of a bunch of flowers gives the effect of being covered by the lapels which shows two slopes of strings of pearls and flower boughs, a motif applied also beneath the bunch of flowers. Small leaves and dots are to alternate in the field.
Design for a Woven Motif
, 1815–1830
Brush and gouache on oily tracing paper
Drawing

A curved twice forked bough with small size leaves, seeds, and four Persion cone leaves.
View of Venice, Italy
Robert Frederick Blum, American, 1857–1903, 1880–1881
Graphite on wove paper
Drawing

Sketch of a canal in Venice with a bell tower in the background.
Textile
, 1840–49
cotton Technique: printed on plain weave

Border in purple on a white ground of rose sprigs and a grapevine garland. Top edge shows five-petal flowers enclosed in a scallops.
Orphrey band
, 16th century
silk, metal wrapped linen Technique: two combined structures, 4&1 satin plus 2/1 twill

Band divided into rectangles; the top one showing the Annunciation, the central one showing the Nativity and the next (incomplete) showing the top part of the Presentation.
Trompe l'Oeil Étui
Unknown, mid- to late-18th century
porcelain, vitreous enamel, gold, metal
Ã©tui

Trompe-l'oeil étui in the shape of a stalk of asparagus. Gilt metal rim and cover.
Sketchbook Page: Ceiling and Architectural Details, Tempio Malatestiano, Rimini
Felice Giani, Italian, 1758–1823, 1810–20
Pen and brown ink, brush and light brown wash over traces of black chalk on white laid paper
Sketchbook folio

Upper section of drawing of coffered ceiling with decorations of garlands, grotesques, trophies, and one figurative roundel. Belowan architrave with moldings, top of shell-niche with head, and corinthian capital.  At lower right, winged putto holding shield.  Putto, shell niche, and capital from Capella di Sigismondo, Tempio Malatestiano.
Wallpaper Design
, 1840–60
Brush and gouache, graphite on white paper
Drawing

On the light blue panel alternate vertical rows of blue hanging calyxes between, with alternate crosses consisting of five points and petals, and similar white rows in which the calyxes stand upright. The rows are connected between each other by the leaf boughs which hang downward in the blue rows, and by rows of calyxes which rise in the white rows. A stylized purple vine stem is laid across the top. Three purple stripes are shown beneath the entablature.
Grotesque Designs and Hunt Scene
, early 17th century
Charcoal, pen and ink on paper
Drawing

Above, a symmetrical grotesque panel with a fountain. Below, a hounds attack a stag in a landscape.
Cherry Blossom Viewing
Ando Hiroshige, Japanese, 1797–1858, 1797-1858
Woodblock print in colored ink on paper
Print

A springtime print shows brilliant cherry blossoms and various people enjoying nature. Some elders sit on a yellow blanket, others taking a stroll. A tall pine tree divides the landscape vertically as everything else shrinks in comparison.
Fragment
, mid–late 18th century
silk Technique: uncut supplementary warp pile (velvet) with supplementary weft

Narrow fragment of "droguet" velvet, uncut pile. Cream-colored and green velvet pile with cream, yellow and red-orange silk showing through in tiny spots.
Elévation d’une Maison de Campagne Située à Courbevoye, Exécutée en 1797 pour Mrs. Piau et Conseil Négociants, par Ch. Bien-aimé Architecte
Jean-Charles Krafft, French, 1764 - 1833, 1812
Etching and engraving on paper
Print

An architectural print illustrating a country house with two exterior elevations, a detail of the pediment and entablature, and four details of decorative friezes featuring ornament and figures. The house features neoclassical motifs, with columns, pediments, and friezes. The plate is titled, numbered, and signed.
Fruit dish and tray
, mid- 18th century
Lead-glazed earthenware ("cream ware")

Elliptical outline. A) with flaring sides pierced at the rim and decorated with raised basketry pattern. B) has rim pierced with double row of triangular figures.
Pleated fan
, early 19th century
Gilded and hand-colored printed paper leaf, ivory sticks carved à jour

Pleated fan. Gilded and hand-colored paper leaf with print. Obverse: scene of two women and one man chasing butterflies. Reverse: plain.  Unpainted ivory sticks carved à jour.
Project Fragment of an Ornament
, 1625–50
Black chalk, pen, and ink on cream laid paper
Drawing

A merman blows a horn. His fish tails twists into flowering scrolls of acanthus.
Stage Design, View Through Open Door
, mid- 19th century
Pen and ink, brush and wash on paper
Drawing

Vertical rectangle. Detail of decoration, open door or window with wrought iron decoration showing view into hall with coffered ceiling that opens onto view of mountain landscape.
Détails en grand de la Sculpture du Fauteuil A
Richard de Lalonde, French, active 1780–96, 1775-1788
Etching on off-white laid paper
Print

Enlarged details of the carving of the armchair depicted in 1921-6-279-43, with emphasis on the rosette, fluting, and acanthus leaf on the chair legs. The plate is signed and numbered.
Two Children Embracing Each Other
, 1770–1800
Pen and ink on paper, mounted
Drawing

They are shown standing behind a table with some objects. The girl at left looks upon them, the boy at her.
Plate from "Frises, feuillages ou tritons marins, à la romaine"
Jean Le Pautre, French, 1618–1682, ca. 1640–1682
Etching on paper
Print

Plate "Frises, feuillages ou tritons marins, à la romaine"
Sidewall
, ca. 1700
Leather, stamped, embossed, silvered, varnished,

Smaller portion of a slightly larger panel, in varnished silver, blue and green. Cartouche framework with scrollwork, fruit, flowers, trellis work and confronted birds.
Border
, 18th century
linen Technique: bobbin lace, discontinuous tape

Lace border has a symmetrical arrangement of stylized scrolling floral forms with a hexagonal mesh.
Mug
, 19th century
Mold-blown glass, tooled handle

Cobalt blue glass
Bedcover
, 1850–1900
cotton Technique: printed by engraved roller on plain weave; woven tape with weft fringe

Unlined bed cover make up of three lengths of printed fabric with white fringe sewn to four sides. Pattern composed of two vertical elements: the wider a tear drop shape with bent top and flowers and the other two twined ribbons with a flower pattern. Background is light brown. Two groups of verticals are half dropped to fill width of fabric, but the pattern is wider than this fabric.
Fragment
, 16th century
linen Technique: withdrawn element with embroidery stitches

Piece of linen ornamented by drawn work at one side. One border of fringe.
Study for the Goddard Memorial Window, in St. John's Church, Providence, Rhode Island
Francis Augustus Lathrop, American, 1849–1909, ca. 1889
Brush and black and grey watercolor, white gouache, graphite on brown paper
Drawing

A draped figure stands in an archway, holding a cross in the left hand and lilies in the right hand.
Tile with Swirl Design
Louis Comfort Tiffany, American, 1848–1933, 1880–1890
glass
tile

Square tile with brown to maroon marbleized design.
PARTIE DE CHASSE
Antoine Watteau, French, 1684–1721, 1731
Etching on laid paper
Bound print

Vignette of hunting figures in a landscape: a woman sits against a tree, holding a rifle; a man stands above her, holding hunting dogs on a leash; and behind a tree, another man holds onto the reins of a horse. The scene is set within a field of arabesque ornamentation, and includes motifs such as scrolls, birds, garland, baskets of flowers, reeds, vines, and meanders. Below the figures in the vignette, there is a cartouche with a smaller landscape. The plate is signed.
Rinaldo and Armida
Angelica Kauffmann, Swiss, 1741–1807, 1784
Stipple engraving in sanguine ink on paper
Print

Rinaldo reclines in the foreground, with Armida seated beside him. He holds a mirror in his left hand. Two soldiers in background, left.
L'EAU
Antoine Watteau, French, 1684–1721, 1723-1735
Etching on laid paper
Bound print

Page of arabesque ornamentation with a central vignette of a woman with two children under a fountain with three dolphins; in the foreground is a reclining male figure. The figures are under a dripping baldachin, and the landscape has at its foreground a river god mascaron. The arabesque frame features motifs of reeds, snails, dolphins, and scrolls. The plate is signed.
Drawing
Felice Giani, Italian, 1758–1823, About 1820.
Pen and brown ink, brown wash over traces of black chalk. Paper.

Vertical Rectangle. Top: A woman with a sickle, and a boy busy themselves with sheaves of grain. | Bottom: a woman kneels, a child stands beside a brazier. The former is shivering. Some household implements are at left.
Man of Sorrows
Albrecht Dürer, German, 1471–1528, 1509
Engraving on laid paper
Print

Christ stands on a platform, in front of a column. His arms are crossed, holding in one hand a scourge, in the other a whip. Below, at left, the Virgin and St. John are seen, half-length, hands joined, in adoration. The hill of Golgotha in distance, left.
Fragment
, 17th–18th century
cotton Technique: printed or painted on plain weave with dye, gold powder on wax or gum base

Section of fine, loose plain weave printed with close-set diagonal repeat of small dark spray with two large white buds. Central panel has this design enhanced with gold outlines; gold dots powdered in interstices. Ground originally dark yellow green, now dull brown.
Fragment
, 1880
cotton, silk Technique: warp printed

Fragment with horizontal ribs has vertical stripes in royal blue that alternate with narrow vertical stripes of brown, red, black, yellow and light green that enclose a floral stripe in a chinè effect.
Fragment
, ca. 600
wool Technique: discontinuous and interlocked warps with discontinuous and stitched wefts; tied-resist patterning Label: plain woven wool with discontinuous, interlocked warps and discontinuous wefts, with tied-resist patterning

Fragment from large mantle with woven stepped sections meeting joined by warp interlocking and stitching in the weft direction. Each individual piece is patterned by tied-resist dying, creating patterns of small and large diamonds. In yellow on green, white on red, and white and rust on dark brown grounds.
Textile
, 17th–mid- 18th century
silk, metallic yarns Technique: plain weave with discontinuous supplementary weft patterning (brocaded)

Woven textile showing a yellow floral pattern on a metallic ground.
Tiraz fragment
, 10th century
silk Technique: plain weave with slit tapestry

Warps consist of alternating stripes of dark blue and tan. The weft has blue threads except at the bottom which has a wide stripe made from white weft threads. Just below is a narrow stripe of alternating red and yellow silk wefts. The tapestry insert consists of connected cartouches with a design of crudely rendered animals in red, white, yellow, green, and black silk. Tapestry insert is predominantly yellow.
Sketch of Youth's Head
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on tracing paper
Drawing

Head of a youth facing slightly to the left.
Peep-show, Vue Intérieure de la Cathédrale de St. Etienne de Vienne; Chereau - Il Tient Aussi Magazin de Toutes Sortes de Papiers en Rouleaux
, ca. 1750
Engraving in ink with washes of watercolor on paper, mounted on scrapbook page
Print

Peep-show print
Fragment
, 16th century
silk Technique: 5-harness satin damask

Reddish-tan damask with a symmetrical medium-scale repeat of a vase of flowers in an ogival foliage frame. Tangents of ogives clasped by crowns.
Sketch of Winged Figure, Possibly Fortuna
Francis Augustus Lathrop, American, 1849–1909, ca. 1895
Graphite on paper
Drawing

Winged figure center with crystal ball and scepter. Other figures below. Pen, scroll, dove, and cornucopia noted with inscriptions.
Design for Medallion Portrait of Mauro Tesi, Surrounded by Architectural Ornaments, Frontispiece to the "Raccolta Di Disegni Originali Di Mauro Tesi..."
Count Cesare Massimiliano Gini, Italian, 1739 - 1821, 1787
Graphite and black chalk on blue-gray laid paper, laid down on brown kraft paper
Drawing

Vertical rectangle; The ovoidal medallion for the portrait, which is very slightly outlined hangs and stands in front of a piece of column flanked by a mourning putto and a sphinx; a statue of another sphinx is standing before the sepulchral monument; three children with a garland and an urn stand upon the column; parts of a pyramid, of an obelisk, and of a fluted column upon which the three Graces stand, are in the background. (RB '45) See CHM 1938-88-8525 related print, ''Portrait of Mauro Tesi (1730-1766), title page from Raccolta di desegni originali
St. Sebastian at the Column
Albrecht Dürer, German, 1471–1528, ca. 1495
Engraving on laid paper
Print

The saint is shown full-length, facing the spectator, his figure turned slightly to the right. He is bound to the column, his hands tied behind his back. Four arrows have pierced his body. The monogram of the artist appears on a paper which is attached to a stone shaft, lower left.
Bread Plate, from a "Tridacna" Tea Set
Belleek Pottery, Irish, established 1857, ca. 1891–1926
porcelain (parian), gold
plate

Plate of thin white porcelain, with molded sea shell contours radiating from round center to irregular outline, possibly derived from crab shell shape, formed by five spiky projections extending the marly at each side. Gilded undulating rim.
Band
, 3th century
Embroidery using colored silk on linen plain weave

Repeating design of small scale ovals in a geometric background.
Clock and key
, 19th century
bronze, gilding

Two kneeling Chinese figures with long mustaches hold circular clock case surmounted by small figure wearing feather headdress and skirt. Base and clock case scrolled. White enamel dial, inscribed: ''A. Beurdeley Fils - a Paris''.
Pleated fan
, 1880–1900
Charcoal drawing on linen and sateen leaf with with paper filler; painted wood sticks

Pleated fan with linen and sateen leaf with paper filler. Obverse: charcoal drawing of landscape; reverse: blank. Black painted wood sticks.
Soldier with Horse and Groom, from the Vari Capricci
Giovanni Battista Tiepolo, Italian, 1692 - 1770, 1750–1760
Etching on laid paper
Print

Only state
Printing block
, 19th century
wood Technique: carved

Carved block design shows squares containing very small animals arranged in rows. These squares are separated by strips with little medallions at crossings. Design is in relief. Block would print one corner of the pattern.
Fragment
, late 16th–early 17th century
silk Technique: 5-harness satin plus 1\4 twill

Continuous ogival framework of broad checkered bands drawn together by crowns and a leaf pattern. Ogives enclose a palmette in one horizontal row and a fruiting tree in the next. In a coarse yellow satin on a ground of red weft twill.
Design for Mantle Piece, from "Cheminées a la Romaine"
Jean Le Pautre, French, 1618–1682, ca. 1670
Etching on paper
Print

A = Jombert 47, 3; B = J. 51, 1; with the address'' Se vendent a Paris Chéz N. Langlois Rue St. / Jacques à la Victoire auec Priuilege du Roi.'' No number C = J. 52,4, but with the name ''Le Blond.''
Textile
, 17th century
wool Technique: split stitch embroidery

Heavy brown fabric with fragmentary serpentine floral design embroidered in polychrome wools yarns in split stitfch.
Drawing
Felice Giani, Italian, 1758–1823, About 1820. (?)
Pen and brown ink, brown wash, over black chalk, on rolled paper.

Vertical Rectangle in octagonal frame. Shown in the pose of the Cimaean Sibyl; the book lies upon the bench, upon which she sits.
Landscape with an Obelisk
Rembrandt Harmensz van Rijn, Dutch, 1606–1669, ca. 1650
Etching on off-white laid paper
Print

Horizontal rectangle. Arched print. Lower section of an obelisk seen at left, the upper part breaking the frame. Thatched roof cottages - center to right. Wheelbarrow at right.
Textile
, 1850–1900
cotton Technique: printed by engraved roller and block printed

Large uneven fragment of cotton with elaborately roller printed ground, in wave pattern, foliage clusters and long scrolling leaf crossing design, in lighter gray and over printed with clusters of natural size roses in yellow and sepia.
Fragment
, 17th century
silk, metallic thread Technique: appliqué on velvet

Dark red velvet embroidered in metallic thread, green, blue and yellow silk in a design of a pomegranate with tendrils. On two seamed pieces of velvet.
Project for the top of a painted frame of an altar
Taddeo Zuccaro, Italian, 1529 - 1566, ca. 1560
Pen and ink. Various water color washes; gold. Varnished. Pencil (added later). Paper
Drawing

Two angels seated upon a socle on top of an entablature hold an escutcheon in which the dove is represented. "(C)VIVS/ (LIVORE) SANATI / (SU)MVS" (IS. c. 53, v. 5) is written on an escutcheon before the center of the entablature. Two women, probably representing sibyls, sit upon the corners.
Textile
, 18th century
silk Technique: lampas

Tobacco-brown silk with a large scale repeat of vase and flowers in continuous ogival framework of leaves and flowers with checkered and diapered details.
Handscreen
, late 19th century
Printed silk leaf, turned and gilded wood handle

Handscreen with a wide, octogonal silk leaf printed with a still life of neoclassical pottery, fruits, birds and feathers in the late 18th century style. Turned and gilded wood handle.
Border
, early–mid-17th century
linen Technique: early narrow bobbin made tape with fillings of needle made lace

Scalloped border with a flower inside each scallop.
Border
, late 19th century
cotton Technique: needle lace, ground of loop and twist with twist return (Burano)

Border of ecru lace with a design of a large swirling floral pattern, a modern adaptation of an earlier lace.
Band
, 18th century
linen Technique: needle lace with ground of loop and twist with twist return

Narrow band finished on both edges with groups of openwork stitches, hexagonal mesh with picots. Serpentine band in field of fine mesh.
Towel end
, 19th century
Technique: braided

This fringe was probably cut from towels and was originally the ornamentation made by weaving and braiding the warp ends. Design of zigzags and rosettes.
Design for Sideboard "D" of Mahogany
A.N. Davenport Co., 1900–05
Graphite on thin paper
Drawing

Rectangular sideboard on four short tapering legs; tri-partite front had niche center topped by two small drawers and flanked by two cupboard drawers on either side; low backsplash.
Sidewall
, 1875–1900
Printed paper, embossed, hand-rubbed oil finish

Imitation leather paper containing urn with tulips and birds design.
Design for a Round Dining Table on Carved Base
A.N. Davenport Co., 1900–05
Graphite on thin, cream paper
Drawing

Round molded top with dividing stretcher running across center, raised on short columnar support, sitting atop elaborately carved base, terminating in 4 splayed legs with carved ball-and-claw feet.