biglam/cooper-hewitt-alt-text huggingface dataset:
Two Boats
Jean-Baptiste Pillement, French, 1728–1808, 1773?
Etching on laid paper
Print

Plate with two oval roundels depicting chinoiserie boats on water. In the upper roundel, a man rows a boat in the shape of a bird with a trellis arch in the rear and a large parasol above his head, decorated with flowers. In the lower roundel, two men in a large sailboat with hanging festoons of flowers. The plate is numbered.
The First Knot (Interlace Pattern with White Medallion)
Albrecht Dürer, German, 1471–1528, before 1521
Woodcut on off-white laid paper
Print

An intricate knotted design in a circular pattern with a heart-shaped central motif.
Three Panels with Cupids
Felice Giani, Italian, 1758–1823, ca. 1820
Pen and brown ink, brush and brown wash on cream laid paper
Drawing

Three Rectangles with: Cupid in Chariot Drawn by Horses; Cupid in Chariot Drawn by Swans; Cupid in Chariot drawn by Lions
Textile
, 16th century
silk Technique: 4&1 satin damask

Pattern of circles in blue and yellow.
Sécrétaire à la Provençale
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a writing desk with a drop leaf. The desk is carved with ornament motifs including lamb tongue, fluting, egg and dart, a lozenge with a vase in the center, rosette, and ring handles. The plate is signed.
Design for Bedroom Alcove
Giuseppe Barberi, Italian, 1746–1809, 1746–1809
Pen and brown ink, brush and brown wash on off-white laid paper, lined
Drawing

Alcove side of a bedroom.
Bracket
, ca. 1800–10
Gilt bronze

Scroll with crowned sphinx
Design for an Embroidered or Woven Border
, 1815–1840
Brush and gouache on oily tracing paper
Drawing

Shown are two plants of different designs united naturalistic and fnatastical forms; the right one shows blossoms in bell and in peacock feather shapes. Bottom center, a blossom and a bead on the points of segments, intended to alternate like the plants.
Bough
Robert Frederick Blum, American, 1857–1903, 1880
Graphite on wove paper
Drawing

Sketch of two boughs with blossoms and leaves.
Ruins of a Medieval Castle
Charles Nicolas Ransonnette, French, 1793 - 1877, 1855-1865
Graphite, brush and grey water color and some sepia on paper
Drawing

A peasant family is near a fire at right in front of the main building. The moon shines.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a lidded vase decorated with two mermen, ribbons, a garland of flowers and a shell motif with an acorn finial on the lid. The plate is signed and numbered.
Design for a Cornice
Richard de Lalonde, French, active 1780–96, 1780-1789
Etching on off-white laid paper
Print

Design for a cornice decorated with ornament motifs including acanthus leaf, fluting, lozenge, lamb tongue, bead and bar course. The plate is signed and numbered.
Arabesque Panel Design
Gilles Paul Cauvet, French, 1731–1788, 1777
Etching and engraving on paper
Print

Panel with arabesques, in the center three putti on a globe.
Paneling (boiserie) Design for a Mirror
Jean Mondon, French, fl. 1736 – 1745, 1749
Etching and engraving on laid paper
Print

Design for the boiserie (paneling) surrounding a mirror or painting featuring rococo ornament and motifs - flowers, festoons and baskets of flowers, c-scrolls, scrolling leaves (rinceaux), shells, fleurons, cartouches, birds, and insects. The plate is numbered and signed.
PROFIL de la Chapelle ou est la Sepulture de Monsieur de Montmorency à Molins en Bourbonnois
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

An architectural section of the interior of a chapel featuring statues on plinths, ceiling decorations including coats of arms, angels, and festoons. A central interior dome with a coffered ceiling with rosettes. Arches with pilasters, and coffins with crosses. Three figures outside on the stairs leading up to the entrance to the chapel, and two figures in a landscape to the left. A scale below. The plate is titled and signed.
Study of man, woman and child heads, sitting child
Giovanni Battista Naldini, Italian, 1537 - 1591, ca. 1570
Red chalk on light brown paper
Drawing

At left above is the man's head turned toward the right. In the center is the child upright sitting as in a bed. At right, above, a woman's profile, as copied after an antique statue; in the center a child's head looking upward, seen in three-quarter front.
A Man and Woman in a Landscape
François Boucher, French, 1703–1770, 1751
Etching on laid paper
Print

A pastoral scene with a couple in a landscape. A woman sits by a tree looking up to a man with her arm leaning on his thigh. The man reaches up to the tree tying a string or rope. The two are looking at each other and are barefoot. A basket of flowers near the women's right foot. Trees and a fence in the background. The plate is numbered and signed.
Title Page
A. Le Canu, French, active 1746 – 1768, 1768
Etching and engraving on laid paper
Print

Title page for a series of Neoclassical altarpieces with a design for an altarpiece featuring a large central painting with figures in clouds, flanked by columns and a roof supported by corbels topped with four smoking/ flaming vases, and a large central angel holding a hanging lantern surrounded by clouds and sun rays. In front of the painting, on a large plinth, a tabernacle topped with a crucifix decorated with rococo motifs. A scale below the design. The plate is signed, numbered, and titled.
Sunset over the Hudson Valley, Hudson, New York
Frederic Edwin Church, American, 1826–1900, 1870-1880
Brush and oil, graphite on paperboard
Drawing

Landscape sketch showing view of vibrant summer sunset over the Hudson Valley, as viewed from a point near the artist's property in Hudson, New York. Treetops and wooded terrain extend across the immediate foreground, backdropped by the Hudson River flowing across the middle distance. Its heavily wooded opposite bank is visible just beyond it. In the background, the light of the setting sun illuminates a cloudbank in a fiery red-orange spectacle that fades to purple in clouds above. The sky behind is rendered in a gradient from yellow-green to deep aquamarine. The Catskill Mountains form a rolling horizon, which descends at right to a rolling landscape.
Design for a Vase
Ennemond Alexandre Petitot, French, 1727 – 1801, 1764
Etching on laid paper
Print

Design for a vase decorated with an open-mouthed mascarons, garlands of flowers, leaves and a fluted foot. With two mermen holding onto the body of the vase and to the mouthes of the mascarons. The plate is signed, dated and numbered.
Design for a Sculptured Bracket with Putto accompanied by the Attributes of War, for the Grand Trianon, Versailles
François de Cuvilliés the younger, German, 1731 - 1777, 1766
Pen and brown ink, brush and grey wash on white paper
Drawing

A bracket composed of shell motifs and a garland supports a putto holding a large sword in his arms, while beside him are heaped other attributes of war.
Figure Sketches with Dogs, Port Said, Egypt
Frederic Edwin Church, American, 1826–1900, January 6-10, 1868
Graphite on white wove paper
Drawing

Figure studies showing twelve partial and complete sketches of Egyptian individuals, variously adorned in headdresses and draped garments, predominantly viewed from the rear. Three views of a seated and standing dog are also included, at lower right, lower center, and center left.

Verso: Mixed studies around Port Said, Egypt showing two figures viewed from the rear, in the upper portion of the composition, and a sketch of the Suez Canal's breakwater, made up of rectangular concrete blocks piled together, in the lower portion.
Two Women and a Child at a Rail, Overlooking Beach at Tynemouth
Winslow Homer, American, 1836–1910, 1881
Charcoal on cream wove paper, lined
Drawing

Two women and a child lean over railing, looking out to sea, as men in raincoats and caps below the boardwalk also look out to sea. A Life Brigade house is directly in front of them, in the middleground; rough sea traversed by several shore bound ships, in the background.
Design for a Ceiling
, 16th century
Pen and brown ink with brown, blue and yellow wash Support: off-white paper on secondary paper support
Drawing

Part of a ceiling shown. At center, a blank octagonal frame flanked laterally with rectangles, the right one with scrolling ornament. Below two lozenge-shapes are decorated with putti and arabesques. At center, a mermaid. Frames are decorated with guilloche and rosettes. Two larger rosettes at the lower corners.
Bras de Cheminée à la moderne
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Design for a two-arm engaged candelabra decorated with scallop shell, garland, mascaron, wave pattern, and garland. The plate is signed.
Design for a Sculpture of a Prophet or Evangelist
Carlo Maria Giudici, Italian, 1723 - 1804, 1780–1800
Black chalk on paper
Drawing

Part of a sheet of a drawing book with a design for a sculpture of a prophet or an evangelist. Figure of a bearded man, holding an open book, shown in three-quarter frontal view; the head in profile, turned toward the left.
Design for a Buckle
, ca. 1790
Pen and black ink, brush and gray watercolor, gold on paper
Drawing

Jewelry design for a buckle. An oval frame formed by two golden bands; inside three ribbons and a cord are interlaced, à jour.
Sepulchral monuments
Giuseppe Barberi, Italian, 1746–1809, ca. 1795
Pen and brown ink, brush and brown wash on lined off-white laid paper
Drawing

The main design represents the elevation of a monument with a high pedestal. Its lower part is quadrangular with obliquely protruding bases with figures at the corners. The upper part of the pedestal has the shape of a lower part of a column in bands upon the two drums of which figures are represented. On the top sits what seemingly is an old man holding a portrait medallion. Beside at left and partly drawn over the figure at left is the elevation of a similar monument, but with an entire column with a standing figure on top. A sarcophagus stands at the front of the pedestal. A plan of this monument is between this and the first mentioned designs. Above at left is a design with a similar column, but the pedestal has the shape of a sepulchral chapel with the figures sitting upon it. Below are steps and shown at left is a candelabrum. Above in the center is a plan. Above at right is the left side of the elevation of a sepulchral chapel. Below it is a pedestal with steps, upon which figures sit at the corners. Above the steps stand a sarcophagus, having on top clouds upon which a figure stands.
Stern View of Two Rowboats, England
Winslow Homer, American, 1836–1910, 1881–82
Brush and watercolor, graphite on gray paper
Drawing

Horizontal view of the stern of two rowboats drawn up on sandy beach with steam and sailing vessels on horizon under a cloudy sky.  Sketches of small sailing craft on lower margin.
Escutcheon, from "Recueil Nouveau de Differens Cartouche"
Gabriel Huquier, French, 1695–1772, ca. 1732
Etching on paper
Print

Plate 2. A tablet, framed on top by a rising sun head, laterally by leaf scrolls, plants, cascades. A boy sleeps in a shell, bottom center. Two framing lines.
Sidewall
, ca. 1890
Brown ink on plain paper

Woodgrain design with symmetrical graining. Printed in dark brown on light brown ground.
Profil du Chasteau de Maison
Jean Marot, French, 1619 - 1679, ca.1635–ca.1660
Etching on laid paper
Print

Architectural elevation of an exterior side view of the castle of Maison, with a courtyard and balustrade to the left. The façade features windows framed by pilasters, statues, finials, and a pediment. A scale below. The plate is titled.
Design for a sedan chair
, ca. 1775
Pen and ink, brush and various water colors on paper
Drawing

Shown in profile turned toward the right.  Above at right is a window with two panels and a curtain.  The panel beside is decorated with a scroll.  The part below forms one panel and is decorated with two garlands laid upon two disks each at the upper corner similar to 3.  At the corners of the rood are crowns and tassels.
Ornamental Vase Design
Juste-François Boucher, French, 1736 – 1782, 1755-1768
Etching on laid paper
Print

Vase design with a dolphin face merging with stylized acanthus leaf pulls and free hanging garland. The vase is short and is elevated on a low plinth. The plate is not signed.
Chaise
, 1860–70
Rosewood veneer, oak (frame), velvet upholstery

Serpentine front, rounded ends, cabriole legs fitted with castors; back of serpentine profile, raised high in circle at one end and crowned with pierced cresting of laminated wood in scrolls and acanthus shoots. Cluster of flowers in relief at center of arched back, and another at center of apron. Upholstered in contemporaneous machine-woven fancy compound satin, tufted on back.
Miser's purse
, 19th century
silk, steel beads Technique: crocheted

Crocheted miser's purse of pink silk with pattern and tassels of steel beads.
Designs for the Border of the Biblical Chronology for the King , 3rd Plate, pl. 37 in Oeuvre de Juste-Aurèle Meissonnier
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, 1748
Etching on off-white laid paper
Print

Only state. Plate showing three designs: upper left, end of scroll with acanthus leaf motif; lower left, backplate of key form decorated with swirling acanthus leaves; right, ornament with shell, urn, leaves, and fruit decoration on plinth. Within design on right, four ovals with numeric inscriptions: upper left, 3000; upper right, 100; lower left, 1110; lower right, 904.
Curtain
, 17th century
silk on linen Technique: embroidery and couching

Large-scale design of flowering rinceaux with perching birds. White background and couching technique. For other component of 1944-56-6-a,b see -b, which is deaccessioned.
Ornements pour moulures et cadres
Juste-François Boucher, French, 1736 – 1782, ca. 1775
Engraving on off white laid paper
Print

Designs for mouldings and frames featuring ornament motifs including bound leaf, bead course, lamb tongue, and bead and bar course. The plate is signed.
HUILIER
Henri Sallembier, French, ca. 1753 - 1820, 1805
Etching on paper
Print

Design for a cruet stand with four cruets for holding condiments with Empire style motifs. The designs feature female figures, insects, shells, roundel profile portraits, fish, sea creatures, stars, foliate scrolls, and leaf motifs. The plate is titled, signed, and numbered.
Landscape at Nightfall
Eugène Edouard Soulès, French, 1811–1876, 1850–1875
Brush and gouache, brush and watercolor on paper
Drawing

A river winds into the background in the center. People walk about on its left bank. Mountains are at right. Ruins of a castle are upon one of them. The full moon shines.
A Sailing Vessel
Filippo Marchionni, Italian, 1732–1805, 1770–1800
Pen and ink on laid paper
Drawing

In front of sailing vessel is a rowing barge with four figures.
Frieze
Jean Le Pautre, French, 1618–1682, ca. 1650
Etching on paper
Print

Top frieze of a set of three.
Classical Temple in a Landscape
Felice Giani, Italian, 1758–1823, ca. 1805
Pen and ink, brush and watercolor washes on cream laid paper
Drawing

Temple structure seen from backside. Stands upon base and has window at its long side, pilasters at corners.  Surrounded by pavement with upright stones in corners. Middle distance, desk and two figures.
Sidewall
, 1890–1900
Ink, black oil

Horizontal rectangle, a full width, giving less than one repeat of a coarse simulation of wood graining.
Pot sherd
, 14th–16th century
tin-enamelled earthenware

Irregular fragment with flanged edge and ornament in relief consisting of quatrefoil and chain motifs surmounting an incised wavy line. Pearly iridescence.
whale oil lamp
, early 19th century
Tin, brass

One of a pair of whale oil lamps. Flat semicircular container with brass cup over the filling hole; attached to a triangular piece of tin, arched below and with hole at top; at the front of the container a pipe connecting with upright cylinder which is fitted with two brass tubes and a brass plate. -a and -b are the same.
Standing Guanyin ("Goddess of Mercy")
, 19th century
rock crystal; wood
devotional sculpture

Standing Guanyin (Quan-yin: Goddess of Mercy) holds rosary in right hand, left hand hidden in wide sleeve. Shown with head partially covered by mantle, hem of this garment curls about figure.
Textile
, 19th century
cotton, glazed Technique: printed by block (relief) and engraved roller on plain weave

Fragment of an allover pattern which would have been a vertical repeat of a feather-like leaf and a large tree on a mound. Alternating vertical repeats offset but with the angle of the leaf form reversed. Pattern predominantly red and green on a background covered with small scale twig or thorn pattern in brown. Straight repeat.
Tray for a Covered Dish
Haviland & Co., French, established ca. 1838, late 19th century
hard paste porcelain, vitreous enamel, gold
tray

Quatrefoil-shaped tray of white porcelain with four equal lobes and two assymetrical, gilt, leaf-form handles; gilt, rippled rim; in center, floral spray, small flowers scattered on background.
Landscape (after Claude Lorrain)
Charles Francois Daubigny, 1817-1878, 1849
Aquatint and etching in brown ink on rolled paper
print

Horizontal rectangle: A landscape with a shepherd, cows and sheep at the left. In the middle-ground trees and a river. Beyond, at left, some buildings and a fortified tower. A bridge at the right.
Popocatépetl from Cuautla, Mexico
Frederic Edwin Church, American, 1826–1900, February 1885
Graphite on off-white wove paper; verso: graphite
drawing

Landscape and architecture sketch showing a view of Popocatépetl and buildings in Cuautla, Mexico. In the background at center, the conical peak of Popocatépetl looms over the landscape. Its notch or subsidiary peak is visible along its left slope. In the foreground at left, the belltower and dome of what is likely the Parroquia de Santiago Apóstol de Cuautla is visible beside the roof of a theater. A theater still exists roughly in that location to this day. 

Verso: Mixed sketches from Cuautla, Mexico, showing views, at left, of a gnarled and twisted tree; at upper center, a hut with a tall roof beside a church with an ornate facade; and at right, loosely rendered leaves, branches, and other foliage.
Study of Woman's Head
Antoine Watteau, French, 1684–1721, 1720–30
Red chalk on paper
Drawing

Head, in profile, shown turned toward right shoulder.  Necklace, string of pearls, and earing indicated.
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. pink/tan ground with gold color arabesque motif with flowers and ribbons
b. the same as "a"
Samples
Orinoka Mills, Philadelphia, Pennsylvania, USA, ca. 1910

a. floral with ribbons on bright pink
b. floral with ribbons on gold color
Fragment
, 15th century
silk, metallic yarns Technique: compound satin weave with discontinuous supplementary weft patterning (brocaded)

Woven silk with red ground and gold metallic pomegranate pattern. Badly abraded.
Fringe
, 17th century
silk Technique: woven

Blue, yellow and white fringe with a checkerboard heading and stripes. Trellis band pattern on top of skirt threads arranged in stripes and tied into tassels of two lengths.
Fringe
, 17th century
silk Technique: plain weave

Green fringe with a plain weave heading, band in a trellis pattern and skirt threads.
Etched copperplate "Landscape with Ducks" by Adolphe Appian
Adolphe Appian, French, 1818 - 1898, 1877-1879
Copper, etched
Printing plate

Woodland scene, with a stream in the foreground, on which are seen two ducks.
Design for Necklace with Brazilian Beetles
, ca. 1900
Graphite, brush and watercolor, white heightening on tracing paper
Drawing

The front part of the chain consists of six small beetles and five ornaments of entwined ribbons in shape of cross. Rope festoons connect small beetles and the ornaments. At the former, hang large beetles, at the latter, small ones.
Textile
, 1800–1850
cotton Technique: relief printed on plain weave, colored ground

Red ground with a staggered repeat of whirling rosettes in yellow, black, red, and reserved white. Spaces between rosettes have interlaced circles and links.
Woman
Arnold Böcklin, Swiss, 1827 - 1901, ca. 1890
Printed black ink on paper
print

Bust of nude woman seen in foreground against landscape.
Band
, 17th–18th century
linen Technique: bobbin lace, Binche style with no grounds

Scroll pattern with brides.
Textile
, 19th century
silk

Fret pattern on blue background ???
Fragment
, 18th century
silk Technique: woven

Grotesque style symmetrical design of winged worms, plant forms and architecterual details in red and cream.
Panel
, 19th century
silk embroidery on wool foundation Technique: embroidered on plain weave

Hanging of fine black wool, embroidered in colored silks and metal thread. Shows an all-over floral pattern and floral border. Lined with yellow silk.
Study for an Alter Painting with Christ Child
Filippo Marchionni, Italian, 1732–1805, 1750–1800
Chalk on paper
Drawing

At top, center, the child Christ stands upon a cloud pointing heavenward. Below, Saint Joseph and two monks, one of whom kneels. Architectural framework sketched out at top.
Pigment. Colors, 1883 & 4
Old Pacific Print Works, Lawrence, MA, USA, 1883–84
paper and printed cotton textiles samples
Printer's sample book

Small brown paper-bound book with a variety of textile patterns. Patterns include children playing, small flowers, flower buds, plaids, dots, stripes, and meandering ribbons. Mostly synthetic dyes. Contains 179 samples.
Study of Sheep
Nicolaes Berchem, Dutch, 1620–1683, ca. 1650
Etching on paper
Print

A ewe lying on the ground asleep, with two calves. From a suite of 8.
tiraz tapestry
, 10th–12th century
linen warp, silk wefts Technique: slit tapestry

Interlaced bands and fragrementary inscription.
Window for the Palazzo Farnese, Rome
Michelangelo Buonarroti, Italian, 1475–1564, 1575–1600
Pen and brown ink, brown wash, black chalk on white laid paper
Drawing

Vertical format: Left half only. Circular pediment with a central bucranium supporting festoons in the lunette. Between pediment and window frame is an entablature with lateral consoles as support of the pediment. Lion mask & ring in mount in left upper corner of frame. Below it a tenglyph*** with a scroll on top. In center are two sections. On reverse is a sketch of a door or window case and of a console
Shawl
, 1800–1825
wool Technique: tapestry weave

Long, very fine twill shawl with deep end borders of elongated boteh forms.
Fragments
, 18th century
silk, metallic thread Technique: plain satin weave with supplementary weft

Pale pink satin ground (originally bright red) with cone design in brocading of green silk and silver metal thread. Cones cut from large piece.
Chrysanthemums and Fans
, mid 18th - early 19th century
Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), and silk threads (itoire)
Katagami

Silhouettes of chrysanthemums and fans create this motif. Silk threads are added to support the stencil structure. The top right corner of the stencil has been damaged and worn away.
Nymphs and Satyrs Before a Herm
Jean-François Janinet, French, 1752-1814, 1780–1790
color aquatint on paper
Print

Horizontal rectangle. Bacchus pursues a nymph, who hands a kid to another nymph. Other figures and statue of a herm, left.
Peep-show, View of the Great Bierkade, The Hague
Georg Balthasar Probst, German, 1732 - 1801, 1732-1801
Engraving on paper
Print

View of The Great Bierkade, The Hague
Border
, early–mid-17th century
linen Technique: bobbin lace, discontinuous tape

Deeply scalloped border with a vase of flowers in each scallop. Narrow bobbin lace in flower pattern joined to straight edge of border.
Justice
Albrecht Dürer, German, 1471–1528, before 1503
Engraving on laid paper
Print

A man is seated on a lion, holding in his right hand a sword; in his left a scale. An aureole surrounds his head, and rays of light come from his eyes.
Decorative door boss and nail
, 16th century
Wrought iron

Square mount shaped and pierced to form four leaves. Two bud-forms riveted at opposite corners echo the design of the one larger and two small nails. All with square shanks.